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BALLARD COLLECTION 


ORIENTAL RUGS 




































■- 

































> . 


















* 




ORIENTAL RUGS 




JAMES FRANKLIN BALLARD 



CATALOGUE 


OF 

ORIENTAL RUGS 


IN, THE COLLECTION OF 

JAMES F/BALLARD 




MCMXXIV 


Aj'Kz%o e 



Prepared and arranged at The John Herron Art 
Institute, Indianapolis, Indiana, by Director J. 
Arthur MacLean and Dorothy Blair during 
August and September prior to the Special Exhibition of 
Oriental Rugs held at the Institute in October, No¬ 
vember and December, nineteen hundred and twenty-four. 

Published October First in an edition of two thou¬ 
sand and five hundred copies, of which One Hundred 
copies only have been autographed by James Franklin 
Ballard the owner of the rugs and publisher of this 
catalogue. 

The Cover Design is a line drawing of the border 
of a Ghiordes prayer rug of the Seventeenth Century. 

Copyrighted [1924] by James Franklin Ballard. 




©C1A808216 


j 


FOREWORD 


On May 22, 1922, the writer presented to the Metropolitan Museum of Art 
in New York one hundred and twenty-nine rugs from his collection, this num¬ 
ber being required, with what they had, to make their collection the most nota¬ 
ble and comprehensive one contained in any museum in the world. The present 
collection, which is represented by this catalogue, contains few Persian pieces 
but it is representative of some of the choicest examples of Asia Minor rugs to 
be found, and a few Indian, Caucasian, Chinese (including one rug from the 
Emperor’s Palace), and other miscellaneous rugs of rare quality, being the 
best possible examples of their kind. They have been largely acquired from 
other collections and antiquarians and represent over 350,000 miles of travel 
over various parts of the world. Only the best and rarest examples have been 
selected, and it is doubtful if another collection could again be assembled, for 
there are practically no more to be had. The rugs in this exhibition are fasci¬ 
natingly beautiful. 

The inspiration of the weavers who conceived the glorious designs and 
peerless colors of these matchless rugs has left a great tribute to the world. 
There is a ravishing loveliness which comes over them every time I see them, 
and it seems to me sometimes that the spirits of these departed weavers are 
hovering over me when I am looking at them, striving to direct my attention to 
their ever-changing hues, and entreating me to comprehend and appreciate 
their exquisite beauty. There is a fascinating charm which comes upon me 
each time I see them, which takes possession of my soul, and the grandeur and 
subtle magnificence of them passes belief. There is an exquisite daintiness in 
the grace of the motif and the combination of the colors that places them in the 
highest rank of art. There is a standard of dignity and elegance, grace and 
beauty, woven into these old rugs which surpasses any design and color combi¬ 
nation in any other branch of art. Some of these old motifs are unequaled in 
beauty of design. These old weavers understood the charm of surprise and 
contrast. The Persian and Indian weavers were masters of curves, symmetry, 
and rhythm. The Turks were masters in color and produced tones and shades 
of intoxicating beauty, and in some of these old examples we find designs and 
colors that move the tenderest emotions in one’s soul. The wonderful haze 
which overspreads them gradually fades away into a beautiful mist which van¬ 
ishes again into airy nothingness — a mere suggestion of something so subtle it 
leaves one as in a dream. 

In the whole realm of objects assembled by the collector, the most interest¬ 
ing things that could be formed into a collection, in my opinion, are: Early 
Oriental Rugs, Tapestries, Velvets, Brocades, Chinese Porcelains, Old Paint¬ 
ings and Books — early Oriental rugs, of the various types, heading the list; 


FOREWORD 


first, because of the extreme beauty of the colors and designs; second, because 
of their symbolic importance; and third, on account of their historical and relig¬ 
ious significance, all of which makes a most fascinating and interesting study. 

These symbols and designs carry us back to past ages. They are full of love, 
passion, sentiment, religion, mysticism, tragedy, and tribal tradition. What 
sacrifice could one not afford, to possess one of these beautiful pieces which 
have passed down through four or five centuries, the beloved possession of 
perhaps twenty-five owners, each of whom believed it to be his forever, each 
design and symbol in it having a meaning of its own? Some of these rugs have 
passed through war, riot, bloodshed—mute witnesses of robbery, pillage, and 
murder. They have made pilgrimages over the hot sands of deserts, on the 
backs of camels, crossed oceans, and finally found a peaceful haven where they 
may remain another half century, to be reverently loved and admired, then 
to come into another period of unrest and warfare, and through that into 
still another ownership. Almost all really old rugs have passed through this 
experience. 

There is no expression in any line of art that suggests greater dignity of 
design, a more subdued harmony, blending soft seasoned color schemes, con¬ 
veying the impression of warmth and magnificence, than is woven in these 
fascinating examples. 

It is to be hoped that the rugs illustrated in this volume may always have 
the tender, loving care and the appreciation they so well deserve, as they are 
entitled to a peaceful and reverential future to the end of their existence. 


St Louis, October 1, 1924. 



VI 


CONTENTS 


PAGE 


FOREWORD . v 

INTRODUCTION. ix 

CATALOGUE . 3 

Persia .3-18 

Indo-Persian. 18-23 

Asia-Minor .23-165 

Ghiordes. 23 

Koula. 55 

Bergama. 83 

Ladik. 97 

Oushak.120 

Miscellaneous .147 

Caucasia .165-172 

China .172-180 

Miscellaneous .180-193 

BIBLIOGRAPHY.195-202 

INDEX.203-206 


vii 





















Indian Rug of the Sixteenth Century No. II 









INTRODUCTION 


The enigma of the Oriental rug is the joy of both the layman and the 
student. Rugs of the Orient have long been favorites in the furnishing of 
Occidental homes, and, furthermore, Occidental rugs have incorporated many 
Oriental designs. Such is the vogue for the patterns of the Far and the Near 
East that a greater knowledge and appreciation of the best types of Oriental 
rugs should be more widely experienced. Many European and American rugs 
and carpets show some Oriental influence, not only in the design but in the 
color as well. Even the actual technique of the Oriental knot has been imitated 
in machine-made floor coverings, with a pile made up of innumerable threads 
pressed closely together and standing on end. The application of Oriental 
design to Occidental carpets is sometimes amusing, although as a rule it is fairly 
well done. But in Oriental rugs even the simplest invariably presents an artistic 
ensemble. We appreciate them aside from their utilitarian significance. We 
idealize them. We raise them to a more royal state—that is, into the field of art. 

Catalogues of rugs too often initiate strange or fanciful terms, or recopy 
terms and perpetuate them, even though they may be quite foreign to the mo¬ 
tifs. Our speculations, and our criticisms, are largely confined to this group of 
one hundred and six rugs. And in this connection we have merely presented 
a basis for further research. The classifications are obvious. First comes Persia 
because of its ancient priority; then India, with its close affiliation and relation 
to the best in Persia; Asia Minor, with its various important rug centres, such 
as Ghiordes, Koula, Bergama, Ladik, and Oushak; next the Caucasus, largely 
because it follows in territorial sequence; China next to last, which, although 
the most ancient of all, produced rugs for our consideration only in modern 
times; and finally a miscellaneous group, which includes the Central Asian 
rugs that might well have a classification of their own. These divisions are 
based upon the attributions of the owner, and include both provenance and 
date. A description consistently followed throughout the catalogue makes it 
possible to visualize the rugs and serves as a record for the future. It is some¬ 
times difficult in reading catalogues and books to completely visualize a rug, 
as only outstanding or extraordinary features have been considered. In this 
catalogue the descriptions bring out first the color and design of the field, 
then the color and design of the main borders, and finally the color and de¬ 
sign of the subsidiary inner and outer borders. By the field is meant that por¬ 
tion of the rug enclosed within the borders. This may be a single decorated 
area, or it may include the representation of a prayer niche, or mihrab, with a 
decorated spandrel above it, and one or two rectangular panels, the first always 
above the niche and spandrel, and the second, when it occurs, below the niche. 


IX 


NTRODUCTION 


The main border sometimes appears alone with only narrow flanking stripes, 
or lines, but is more often guarded by subsidiary stripes termed inner and outer 
borders. Extra stripes of narrow width sometimes occur either surrounding 
the field or forming a margin about the rug. Guard stripes are narrow borders, 
generally decorated, which in almost every case flank the outer and inner bor¬ 
ders. Guard lines are made up of single or double rows of knots. 

Colors have been described in simple terms. Imaginative terms and trade 
names have been avoided, and even the names of tints and shades have received 
very little consideration because of the confusion arising from their use. Color 
descriptions have been kept within the range of red, orange, yellow, green, 
blue, violet, and purple. Brown, white, and black have been noted, and occa¬ 
sionally “rose” and “taupe.” In the study of this color range it was found that 
orange is rarely used, and that green, in its full intensity, is infrequently used, 
and only in small areas. A brownish color universally appears, although it may 
originally have been a different color which has finally changed and now 
ranges from very light to dark brown. It is, in fact, exceedingly difficult to 
assign accurate names to dark areas, for often what seems to be pure black in 
some portion of the rug, takes on, when worn to the warp, a warm brown or 
violet cast. This color is fugitive and has often entirely disintegrated the yarn. 
The surface colors of the rug have been used in the descriptions but are in 
many cases remote from the original hue or tone, because of the surface fading 
which has taken place. Immediately below the surface the pile may be many 
tones brighter than the surface, but no inkling of this is obtained without sepa¬ 
rating the knots for a close examination. The Persian silk rug, No. i, is the 
most amazing example of this condition. The uniform surface grey reveals 
upon inspection a deep yellow or blue, and the back of the rug presents an 
aspect quite different from that of the pile because of the purity of the color 
registration. It is obvious that to the weavers of these rugs complementary 
harmony was of little interest but that analogous harmony must have been held 
in esteem. The only triadic harmony favored is red, yellow, and blue. With 
the exception of the Chinese group dominant harmony, that is, harmony within 
a single color, is never a part of the decoration. In only one group of rugs, the 
Ghiordes, is white found in sufficient quantity to modify the general character 
of the color scheme, bringing it well above middle value. 

There are a few motifs in Oriental rugs which are repeated in some form 
or another over and over again. The lanceolate leaf, the palmette, and the 
rosettes not only appear after the fashion of the famous Herati pattern, but are 
often modified to such an extent that only those who have seen many rugs are 
able to trace the resemblance. The pomegranate is another form which is 
repeated in devious ways. It would seem that the tulip has been confounded 
with it, and probably as good an example of this as any is the so-called “tulip” 


x 


INTRODUCTION 


pattern in the panels of Ladik rugs. Not only does this “tulip” pattern con¬ 
sistently follow the form of the pomegranate and the bilateral growth of its 
leaves, but it is repeated in many other rugs in convincing form. In the Ladik 
rugs it often appears as a perfect cross section of the fruit. The palmette is also 
a common form. Among the flower forms are the lily, the pink, the carnation, 
and the lotus, besides small ones of unknown species. Among geometric forms 
we find the octagon, the lozenge, the reciprocal trefoil, the tile and cartouche, 
and many of the plane forms. Among the natural forms are the ewer, the vase, 
and the mosque-lamp. Naturalistic forms as the basis of design have not been 
used in these Near Eastern rugs except in those of Persia and India. Flower 
forms are used, but invariably much conventionalized or entirely modified. 
Animal forms and figures are seen only in comparatively few instances. In the 
main, the ornament is geometric and has for a basis either floral or plant forms, 
arranged in a bisymmetrical manner. Accidental and purposeful differences 
occur so persistently, however, that one recognizes irregularity in design as a 
universal characteristic. Variety is a dominant feature. When a repeat pattern 
is used it is as often moved over and repeated, as it is turned over and repeated. 
A pattern repeated in a different color scheme, or a color scheme repeated with 
a change of design, is a common practice. Pairs of guard lines, which one 
would expect to find in the same color, are frequently in different colors. 
Rarely does a repeat pattern continue unbroken throughout the rug; or a 
repeated color scheme remain absolutely uninterrupted. A design used as a 
running pattern changes to an angularized pattern in the same rug, or is made 
to fit rectangular units or other geometric forms. The ends of the rugs are 
favorite places for a change of color or design for variety’s sake. 

The surprising variance in the number of knots per square inch in the same 
rug is realized when many sections are measured and counted. Sometimes six 
or eight counts in different parts of the rug may be taken with no two alike, 
and as wide a difference as one hundred, but more often only thirty or forty, 
variants to the square inch may be found. This is due to various causes, not the 
least of which is the fact that several individuals may have woven portions of 
the same rug; or to a lack of adherence to a uniform tension throughout the 
rug; or even to a lack of skill, portions of some rugs having undoubtedly been 
executed by children, or by unskilled weavers. 

In the Nearer Orient where the mosque and the mihrab play such an impor¬ 
tant part we easily associate with the rug one of its happiest environments. It 
has often been called a mosaic in yarn, and the term applies when one thinks 
of the beautiful tiles in the mosques, the beautiful porcelain and pottery of the 
mihrabs and the arabesques and geometric patterns in the stucco of the domes, 
inside and out. One senses a consistent plan in them due to the weaver’s feeling 
for his environment. And not only are they like beautiful mosaics in color and 


XI 


INTRODUCTION 


design, but the technique of the knot and the texture of the wool also reflect the 
light as from a bright mosaic. To be surrounded by a group of Oriental rugs 
is to feel the presence of the East and the mystery of the mosque, the tent, the 
palace, the secret inner rooms, and the fascinating intrigue of Eastern lore and 
life of years gone by. 

One who seeks the beautiful concurrently with everyday interests grows 
young as years increase and he not only acquires material things, which are 
physical assets, but he adds something to his character and personality. A col¬ 
lector of rugs has many hours of interested research, many miles of far-away 
travel, and a great pleasure in the quest. There is an exhilaration in the actual 
acquisition of each rug. The American market sometimes furnishes rugs for 
the fastidious collector but Europe also must be visited and searched and one 
must also seek them in the places of their origin. Thousands of miles have been 
covered to assemble this collection. The quest was a pleasant game, fully appre¬ 
ciated by him who experienced it. It meant not only choosing this rug or 
that rug as it presented itself but also acquiring only those rugs in which he 
was particularly interested. Thus has been assembled a collection representing 
an individual taste. He knows each one by name, he knows their whims, their 
peculiarities, and all their good points. He knows the best light for this one, or 
for that one, and just how they should be shown. By a perusal of the rugs one 
may ascertain the personality of the collector. No one can put enthusiasm, 
concentration, and the joy of effort into the assembling of any material matter 
without its being stamped with his personality. He who loves them well, finds 
great pleasure in sharing them with others so that they may also feel the exhila¬ 
ration which the beauty of the rugs imparts. This brings him in touch with 
kindred spirits. He helps to make the world akin and the world is indebted to 
his generosity. 

These rugs appeal to us because of that element of mystery which is always 
associated with the fine things of whose actual history we know too little. They 
represent quality, whether the possession of a layman, or the prerequisite of a 
religious devotee, whether the possession of the nomad king of the desert, or of 
the crown prince within the city walls. Of highly utilitarian importance, not 
one whit of which has been forsworn by their artistic excellence, they record a 
past more permanently than brick and mortar. And the best of them will 
remain as a record worthy of emulation by all peoples of the world. These 
rugs may have graced the finest marble floors or a hovel’s trodden clay, or may 
have served to embellish ceiling, wall, or door. These rugs have played an 
even role for home, for church, for court, and now they come into their own, 
revered as the cherished treasures of their owner. 


CATALOGUE 


There are one hundred and six rugs 
herein described and illustrated. Each 
one has been measured vertically and 
horizontally through the centre, and 
the knots have been counted vertically 
and horizontally in at leaSt six places 
in both directions, twice at each end 
and twice in the centre; the minimum 
and maximum counts have been 
given in each instance. 


CATALOGUE 


THE PERSIAN GROUP 

Under this classification would fall the earliest Oriental rugs now in existence, and in 
this group of nine rugs certain characteristics prevail which are applicable to - most Persian 
rugs. As a rule all motifs are integral parts of the pattern, with detached forms rarely 
used. The lanceolate leaf, palmette, and rosette motifs are used both in the field and in 
the border. When used in the border the lanceolate leaves embrace the palmette which, as 
a unit, is alternated with a rosette. A single border, flanked with two guard stripes, forms 
a frame for these rugs. No highly conventionalised motifs or archaic forms appear. 
Rose-red is universally used, and dark blue is always present. The Sehna knot is the pre¬ 
vailing technique, but the Ghiordes knot is sometimes used, as are also other methods, 
such as the Soumak weaving used in the horse trapping, item No. 2 of this catalogue. 


SILK RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] NO. I 

Ghiordes knot, 325-37 5 to sq. in.: vert.; IJ-1 5 hor. [4 ft. 8 in. by 4 ft. 6 in.] 

In the centre of the field is a lozenge enclosed in red scrolls outlined in white, 
and white scrolls, outlined in red and blue. The ground is dark blue and on it 
is a concentric lozenge with a yellow ground, decorated with a central rosette, 
two palmettes, and floral arabesques in two tones of red, yellow, two tones of 
blue, and white. Outside the lozenge is a series of large scrolls enclosing red, 
blue, and white grounds on which are leaf, flower, and stem motifs, and two 
palmettes. The rest of the field is decorated with floral sprays on a yellow 
ground. CEThe main border is decorated with a small, modified palmette in 
yellow, two tones of blue and white, guarded by four modified lanceolate 
leaves in white, alternating with a rosette and four white leaves, enclosed 
within a blue line which conforms to the outline of a cartouche. CEThe inner 
border has a light blue ground and is decorated with a flower and vine motif in 
red, yellow, dark blue, and violet. It is flanked by two red guard lines, with 
minute squares in yellow and blue on the outer edge. CEThe outer border is the 
same as the inner border. Surrounding it is a narrow border with a conven¬ 
tionalized running vine in red, yellow, light blue, and white, on a dark blue 
ground. At its outer edge is a plain yellow stripe. CEThe warp extends at each 
end in a long Silk fringe. Ballard Collection, No. 4 . 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


3 




BALLARD COLLECTION 



Persian Silk Rug of the Eighteenth Century No. I 
















OF ORIENTAL RUGS 

HORSE TRAPPING OF THE SIXTEENTH CENTURY. 

[PERSIA] NO. 2 

Soumak weaving, 14 warp threads to the lineal inch. [6 ft. 2 in. by 5 ft. 2 in.] 

The entire surface of this horse trapping is made up of many parallel stripes 
decorated with floral motifs in varying color combinations. A wide stripe 
alternates with a narrow stripe. Each of the narrow stripes has a zigzag vine¬ 
like pattern with an intermediate flower form. The wide stripes have two inde¬ 
pendent designs. One is made up of a conventionalized tree-like form with 
leaf and flower motifs in red, yellow, green, and two tones of blue, separated 
by two truncated triangular forms, also made up of leaf and flower motifs. 
This design appears on a natural colored ground, a yellow ground, or a dark 
blue ground. The second design is an S chain pattern on a red or on a light 
blue ground, embellished with flower, leaf, and rosette motifs. When the pat¬ 
tern appears on the red ground the chain is dark blue broken in the centre by a 
green leaf; when it appears on the blue ground the chain is red. Two guard 
lines flank each stripe. They occur in varying combinations of red, yellow, two 
tones of blue, and white. Around the outer edge is a border decorated with the 
S chain pattern and flanked with the narrow stripe used in the field. CThe 
technique of this trapping is different from that of the usual rugs and carpets 
of Persia, which are made by knotting many threads of short lengths to form a 
pile. In this case long continuous threads are interlooped on the warp in the 
technique of Soumak weaving. Ballard Collection, No. 5. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KHORASSAN RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] NO. 3 

Sehna knot, 45 ~ 7 ° to the sq. in.: Q-IO vert.; 5 -7 hor. [6 ft. 5 in. by 4 ft. J in.] 

The field is decorated with a large yellow and red fruit-like motif, the elon¬ 
gated stems of which cross at right angles, forming a trellis-like effect, on 
which are other flower forms and leaves. Rosettes in red, yellow, and light 
blue, in varying combinations, are regularly spaced on the stalks, together with 
smaller leaves and flowers, introducing white. The effect is that of an allover 
pattern, on a dark blue ground. CThe main border is decorated with an undu¬ 
lating blue vine and leaf motif inter-related with a yellow line connected with 
a rosette and a palmette form, outlined in blue, alternately placed in the undu¬ 
lations of the vine. The ground is red. CThe inner border is decorated with 
a wavy blue line spotted at regular intervals with red. In the undulations is an 
indefinite flower form in red and yellow. This border has a white ground and 


5 


BALLARD COLLECTION 



Persian Horse Trapping of the Sixteenth Century 


No. 2 




















OF ORIENTAL RUGS 



No. 3 


Khorassan Rug of the Eighteenth Century 

































BALLARD COLLECTION 


is flanked with red, yellow, and blue guard lines. CThe outer border is iden¬ 
tical with the inner border. ([There is a short fringe of warp extending beyond 
the pile at each end. Ballard Collection, No. 8. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

BAKSHI RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] NO. 4 

Ghiordes knot, 54-60 to the sq. in.: Q-IO vert.; 6 hor. [Q ft. Q in. by /f //.] 

The field is red, decorated with three lozenge medallions: a blue one in the 
centre and a white one at each end. They have angulated outlines defined by 
brown, yellow, and red lines, and are decorated with radiating conventional¬ 
ized flower forms and palmettes in two tones of red, yellow, green, blue, and 
violet. Four pear-shaped motifs, with attached flowers, are placed about each 
lozenge in such a way that, with the lozenge, they form the general outline of a 
square. The two at each end, nearest the centre, are in dark blue and the rest 
in violet. CThe main border is decorated with rosettes enclosed by large leaves 
with serrated edges and heavy mid-ribs which join and form, with their stems, 
an undulating pattern. The ground is white and the color scheme is red, 
yellow, green, blue, and violet, with no apparent regularity in the repeat of the 
color. CThe inner border is composed of small panels arranged obliquely 
and decorated with a tree or flower motif. The panels are two tones of red, 
yellow, green, two tones of blue, and violet, separated by a line of red, brown, 
and white knots, and guarded by similar lines made up of red and white knots 
flanked with brown. CThe outer border is the same. On the inside edge of the 
outer border is an extra stripe, the ground of which is dark blue decorated with 
what seems to be a running vine motif, in two tones of red, yellow, green, blue, 
violet, and white. Around the outer edge of the rug is a stripe made up of 
short oblique lines of blue and violet, changing to blue and white opposite the 
centre of the rug. CThe rug is loosely woven and has a long pile. A fringe of 
warp threads extends beyond the pile. Ballard Collection, No.9. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

SHIRAZ PRAYER RUG OF THE SEVENTEENTH 
CENTURY. [Persia] No. 5 

Ghiordes knot,132-180 to sq.in.: I2-18 vert.; 11-12 hor. [3 ft. I in. by 3 ft.3 in.~\ 

The dark blue field of the niche is pointed at each end and outlined with red, 
yellow, and brown lines. In the middle of the rug is a circular medallion in 

8 


OF ORIENTAL RUGS 



Bakshi Rug of the Eighteenth Century 

No. 4 




BALLARD COLLECTION 



Shiraz Rug of the Seventeenth Century No. J 
















OF ORIENTAL RUGS 


yellow with indented outline in red and blue. In the centre of the medallion is 
a geometric motif in blue, yellow, purple, and white, surrounded by four cloud 
bands. Half of each cloud band is red and the other half blue. Small floral 
forms fill the spaces between the main parts of the design, and from the four 
sides of the medallion project hook motifs in red outlined in blue. Over the 
field is a highly conventionalized tree motif in yellow, outlined in red, with 
white flowers and blue leaves. This tree-like form terminates at the top in a 
lozenge with a white ground enclosing a four-pointed tile form outlined in 
blue and red and decorated with four so-called scorpion motifs in yellow and 
blue, on a violet ground. Pendent from each shoulder of the arches is a conven¬ 
tionalized tree motif in red, blue, and yellow. The corners of the field, which 
are spandrel areas, are red, decorated with arabesques in yellow, blue, and 
white. The red ground of these spandrels extends down the sides of the field in 
a narrow stripe. CThe main border is decorated with alternating highly con¬ 
ventionalized floral forms in red, yellow, green, blue, and violet, on a white 
ground. Straight stems in red connect the alternating motifs. CLThe inner 
border is light blue, decorated with a reverse curve motif in brown, outlined 
in red, embellished in the centre with a quatrefoil in red. The guard lines are 
brown. A yellow line completely surrounds the field. CLThe outer border has 
the same design as the inner border, with blue flowers on a yellow ground. 
At each end is a silk web and fringe. Ballard Collection, No. 10 . 

Illustrated: An Exhibition of Oriental Rugs, Carnegie Institute, 1923. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


HERAT RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] 


No. 6 

[9 ft. 4 in. by 5 //.] 


Sehna knot, 108 to the sq. in.: 12 vert.; 9 hor. 


The orange-red field is completely covered with an inter-related allover pat¬ 
tern made up of palmettes in red, yellow, and two tones of blue; a twelve- 
petaled flower, which may be the lotus, in red, yellow, and blue; a lanceolate 
leaf with a heavy mid-rib of yellow, blue on one side of the rib and dark red 
on the other; and many rosettes and sntallHlower forms. The main unit of 
the design is an inconspicuous lozenge formed by light blue lines, from 
which radiate four palmettes in dark blue, red, yellow, and light blue, con¬ 
nected, by a continuation of the light blue lines, with a rosette in red and white. 
Flanking the lozenge are four lanceolate leaves. This design is repeated down 
the centre of the rug, on its vertical axis. The same unit is placed at the ends 


11 


BALLARD COLLECTION 



Herat Rug of the Eighteenth Century 


No. 6 




























































OF ORIENTAL RUGS 


of the repeats on the horizontal axes of the rug in such a way that the entire 
design has a diagonal effect. CThe main border is decorated with a floral 
reverse curve motif joined with rosettes, on a dark blue ground. The stem of 
the curve is green, outlined in red. The flowers are four-petaled, in white, 
outlined in red, and the rosettes are in two tones of red, outlined in yellow, with 
green and red centres. CThe inner and outer borders are light yellow, deco¬ 
rated with a chain pattern made up of an elongated reverse curve, in brown, 
broken in the centre with a blue flower and connected at the terminals by a red 
flower. Both borders are guarded by red, blue, and yellow guard lines. CThere 
is a short warp fringe at the ends of the rug. Ballard Collection, No. 11 . 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


JUSHAGAN RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] NO. 7 

Sehna knot, J2-88 to the sq. in.: Q-II vert.; 8 hor. [i\2 ft. 9 in. by 6 ft. 8 in .] 

The rose-red field is completely covered with an elaborate interrelated design 
of rosettes, arabesques, palmettes, and traceries sustaining small flower forms. 
Dark blue and yellow predominate on the red field but an even disposition of 
white modifies the color and gives charm and sparkle to the design. On the 
vertical axis of the rug continuous dark blue arabesque-like lines form lozenges 
and cartouches, which are crossed horizontally by pairs of yellow lines in wide 
scallops forming ovals. A row of somewhat prominent rosettes is placed at 
right and left of the centre. The outer petals are in two tones of blue, partly 
outlined in yellow, with the inner area in white, outlined in red, and the centre 
in rose, yellow, and blue. CThe main border is decorated with a rosette flanked 
with conventionalized lanceolate leaves placed diagonally, thus forming, with 
their stems, the effect of a running vine. The rosettes alternate in blue and 
rose, and the lanceolate leaves are yellow, outlined in red, with a heavy mid¬ 
rib of red, outlined with dark blue. The ground of the border is dark blue. 
CThe inner border is decorated with a pointed flower motif in two tones of 
red with heavy blue stems, alternating with the same motif, reversed, in green 
and red. The ground of the border is white, and the flanking lines are brown. 
CThe outer border is the same as the inner border. Ballard Collection, No. 13. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


r 3 


BALLARD COLLECTION 



Jushagan Rug of the Eighteenth Century 


No. 7 









































OF ORIENTAL RUGS 



Saraband Rug of the Eighteenth Century No. 8 





















































































BALLARD COLLECTION 


SARABAND RUG OF THE EIGHTEENTH CENTURY. 

[PERSIA] NO. 8 

Selina knot, IOO-143 to sq. in.: IO-I3 vert.; IO-II hor. [6 ft. 4 in • by 3 /*•] 

The field is decorated all over with rows of detached pear-shaped forms, with 
the stems of every other row turning in opposite directions. The outline of the 
motif is notched and the centre has a multi-colored effect produced by the use 
of two tones of red, yellow, two tones of blue, and brown. The stems are red 
outlined in green, against the dark blue of the field. CThe main border has an 
old ivory ground decorated with an undulating vine-like pattern in dark blue, 
broken by solid areas of rose-red, outlined in blue, probably a conventionalized 
flower or fruit form. In the undulations is a rather indefinite conventional¬ 
ized flower form in red, brown, and blue. The border is flanked with narrow 
guard stripes regularly spotted with red and creamy white, which in turn are 
flanked by brown lines. Red and yellow guard lines are added on each side. 
CThe inner border is decorated with an angular zigzag flower and leaf design, 
on a dark blue ground. The color sequence of the flowers is red, blue, and 
green; and the leaves are red outlined in creamy white, with two smaller leaves 
in red and green. The guard lines are red. On the inside of this border, and of 
equal width, is an extra stripe which is decorated with a curled, running vine 
motif in blue, with the turns of the vine filled with independent red, blue, and 
green flower forms. It is flanked with narrow guard stripes made up of red 
and creamy white spots. These stripes are flanked with brown lines. CThe 
outer border is identical in both design and color scheme with the inner border. 
Surrounding the entire rug is a reciprocal trefoil pattern in two tones of blue, 
outlined in red. GAt the extreme edge is a single narrow guard stripe of 
yellow, flanked with red. Ballard Collection, No. 14. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 192/].. 


FERAGHAN SADDLE COVER OF THE EIGHTEENTH 
CENTURY. [Persia] No. 9 

Ghiordes knot, 121-132 to sq. in.: 11 vert.; 11-12 hor. [3 ft. 8 in. by 2 ft. Ioin 3 \ 

This small rug-like saddle cloth has a dark blue field in the form of a niche 
with spandrel areas above. On the dark blue ground of the niche is an arched 
area with a border composed of a yellow stripe, decorated with red spots, and 
blue, red, white, and yellow guard lines. On the upper edge is a yellow picot, 
and through the centre of the arched area runs a plain band of warp and weft 


16 




OF ORIENTAL RUGS 



Feraghan Saddle Cover of the Eighteenth Century No. Q 















BALLARD COLLECTION 


threads devoid of knots. When the cloth is put in use this plain area is cut away 
to permit the cloth to fit over the saddle. CThe spandrel above the blue niche 
has a red-orange ground, decorated with small palmettes, rosettes, lanceolate 
leaves, and floral forms in red, yellow, two tones of green, blue, black, and 
white. CThe field is enclosed by three narrow stripes. The middle stripe has 
a blue ground on which are red flower forms and blue leaves, connected by an 
indistinct black line and arranged alternately in counterchanged order. CThe 
inner and outer stripes have the same design on a yellow ground. There are 
guard lines of red and white flanked with black. Ballard Collection, No. 97. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE IN DO-PER SI AN GROUP 

Indo-Persian is the name given to a group of rugs probably made in India but manifest¬ 
ing a Persian influence in design and color. The four rugs of this group, though Persian 
in motif, show a realism and a delicate flow of line not so prominently characteristic of 
their Persian prototypes. General characteristics are free interlacing scroll lines support¬ 
ing palmettes, cloud bands, and floral forms; the rare use of detached motifs; prevalence 
of a single wide border with narrow flanking stripes; and a predominance of dark blue 
and rose red, with buff as a contrasting tone. These rugs are comparatively thin. The 
use of the Sehna knot is invariable. Tight knotting, producing a short close pile, is com¬ 
mon; the largest number of knots to the square inch of any rug in the collection has been 
noted in the description of rug No. 13, which has 304 Sehna knots to the square inch. 


INDO-PERSIAN RUG OF THE SIXTEENTH CENTURY. 

[INDIA] NO. IO 

Sehna knot, IOO-IIO to sq. in.; IO vert.; IO-II hor. [/j> ft. 5 in. by 5 ft. IO in .] 

The field was originally a rich red, which, now that the pile has worn down to 
the warp threads, has acquired a varied rose tone. In the centre is a medallion 
with a green ground, supporting from a central quatrefoil in red eight yellow 
stems tipped with conventionalized flower forms. Palmettes, cloud bands, ara¬ 
besques, and small flower motifs on a vine cover the field. The color scheme is 
red, two tones of yellow, green, two tones of blue, and brown. Blue and yellow 
predominate, but the design has a mysterious indefinite quality due to the wear¬ 
ing down of the pile. CThe main border is decorated with a lanceolate leaf and 
palmette motif connected by a running yellow vine, on a blue ground. A pair 
of lanceolate leaves in dark blue outlined in white, with yellow stems and ribs, 


18 


OF ORIENTAL RUGS 



Indo-Persian Rug, Sixteenth Century 


No. IO 

































BALLARD COLLECTION 



Indio-Persian Fragment, 
Sixteenth Century No. 12 



Indo-Persian Fragment, Sixteenth Century No. IJ 






OF ORIENTAL RUGS 


enclose a palmette in yellow and blue. Alternating with it is a similar design 
with the leaves in yellow and the palmette in yellow and violet. CThe inner 
border has a blue ground and is decorated with a continuous leaf and flower 
motif on a yellow stem. The guard stripes are yellow and brown. CThe outer 
border has a similar motif, with the stem and leaf in blue, and the flowers 
yellow with brown centres. The ground is red and the guard lines yellow. 
COne fails to realize the amount of wear this rug has withstood, until a close 
examination reveals its actual condition. The pile is uniformly worn to the 
level of the warp threads, and in places it has entirely disappeared. Fortu¬ 
nately, however, for those who love Persian art, the details and color of the 
design are still visible and, though much reduced from the original intensity, 
still retain a delicate charm and subtle beauty. The quality of the wool and 
the ingenuity of the technique are the two factors which have brought this rug 
over a range of four hundred years, still intact, still firm, evenly worn through¬ 
out, and still beautiful. It is achievements such as this, where service and 
beauty approach perfection, that preserve for posterity the art of former times; 
and, in the hands of one who appreciates this rug wholly for its beauty, rather 
than for its usefulness, it will ever continue to serve as well as it has in the past. 

Ballard Collection, No. 1. 

Illustrated: Bulletin of the City Art Museum, St. Louis, December, 1916. 

Exhibited: City Art Museum, St. Louis, 1916; Pennsylvania Mmeum, Philadelphia, 
1919; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indian¬ 
apolis, 1924. 


INDO-PERSIAN RUG OF THE SIXTEENTH CENTURY. 

[INDIA] No - 11 

Sehna knot, IOO-IIO to the sq. in.: IO-II vert.; 10 hor. [6 ft. by 4 ft .] 

Old rose is the uniform tone of the field of the rug, and upon it are palmettes, 
cloud bands, and small floral forms, interlaced by a running line scroll. In the 
very centre of the rug is a small irregular diamond form in white, from which 
project, to the right and left, palmettes in red, yellow, green, and blue, super¬ 
imposed over cloud bands of orange, outlined in blue, brown, and red. On the 
long axis of the rug are cloud bands in white, outlined in green and yellow, and 
palmettes varying in design and color scheme. Four prominent palmettes in 
dark blue, red, and two tones of yellow, with touches of light blue and buff, are 
placed prominently in the four quarters of the rug. The general effect is that 
of an allover pattern, with the motifs regularly spaced in open arrangement. 
CThe main border, the ground of which has disintegrated, is decorated with 
two interlaced running vine, flower, and leaf motifs, one in blue and one in 


21 


BALLARD COLLECTION 


yellow. The blue vine is broken at regular intervals by a blue leaf which alter¬ 
nates with a flower in rose-red and blue. The yellow vine supports a flower 
spray in rose, outlined in yellow. GThe inner border is a narrow stripe of blue, 
decorated with simple geometric forms in yellow, outlined with orange. On 
the outer edge of this border is a narrow stripe with a regular pattern made up 
of yellow and white spots. GThe outer border is decorated with detached 
circles, alternating blue and yellow, on a red ground. This border is flanked by 
narrow yellow stripes. This typical rug is illustrated in color as a frontispiece. 

Ballard Collection, No. 2. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924.. 

INDO-PERSIAN FRAGMENT OF THE SIXTEENTH 
CENTURY. [India] No. 12 

Sehna knot, 408-456 to the sq. in.: IJ-IQ vert.; 24 hor. [/ ft. J in. by II in.~\ 

This is a fragment of the field of a superb Indian rug. On a rich red ground 
two vines, one in yellow, shaded with brown and red, and the other in green, 
outlined in blue, support leaves, buds, and a rose palmette, forming an inter¬ 
lacing pattern. The rose palmette is in three tones of red, yellow, and green. 
The buds are either red or yellow, with green calyxes. Part of a second palm¬ 
ette in red, rose-red, yellow, green, and blue is visible at one end. GThe warp 
threads are silk. The color and state of this rug have changed but little after 
the four hundred years of its existence. The large number of knots to the 
square inch, something over four hundred, has produced a wearing surface of 
the most indestructible character. Each fibre of the woolen strand with which 
the knot is made stands upright, due to the character of the weave, and thus not 
only presents one of the finest wearing surfaces possible, but reflects the light, 
producing a lustrous quality pleasing to the eye. Ballard Collection, No.6. 

Illustrated: Supplement to the Bulletin, The Cleveland Museum of Art, January, 1920. 
Exhibited: The Cleveland Museum of Art, 1919; The Art Institute of Chicago, 1922; 
San Francisco Art Association, 1923; Carnegie Institute, Pittsburgh, 1923; The John 
Herron Art Institute, Indianapolis, 1924. 


INDIAN FRAGMENT OF THE SIXTEENTH CENTURY. 

[INDIA] NO. 13 

Sehna knot, S 4 ^~ 5 C 4 t° s 4 • * n • •' 18-21 vert.; IQ-24 hor. \_2 ft. 6 in. by I ft. I in.~\ 

This is a fragment of the field and border of an Indian rug. The red field is 
decorated with a heavy scroll, and a light flowing vine. The scroll is a delicate 


22 


OF ORIENTAL RUGS 


green, outlined with yellow of the same value and strengthened by a dark green 
line through the centre. The vine motif is in green, outlined in blue, support¬ 
ing flowers in two tones of yellow, and leaves in green and yellow, but outlined 
in blue. C I he border is decorated with a reverse curve vine motif in green, 
outlined in blue and crossed in the centre with a flower and leaf motif in red, 
two tones of yellow, and blue. At one end the curve terminates in a prominent 
green and yellow leaf, outlined in blue, and at the other in a prominent green 
leaf, also outlined in blue. The background is buff. Separating the field and 
the border is a narrow green stripe decorated with a linked reverse curve 
motif in buff. It is flanked with red, blue, and buff lines. GThe warp and 
weft threads are silk. This fragment has an unusually large number of knots 
per square inch, the largest count revealing a little over five hundred. It is a 
typical Indian example. Although primarily an example of pure design, per¬ 
haps the purism of the design may have been less sought after than the artistic 
representation of the whole. This is a prevailing characteristic of Oriental art, 
and in this particular example one can hardly differentiate between the two 
because design and representation have been so closely blended to produce this 
beautiful result. Ballard Collection, No. 7 . 

Illustrated: Supplement to the Bulletin, The Cleveland Museum of Art, January, 1920. 

Exhibited: The Cleveland Museum of Art, 1919; The Art Institute of Chicago, 1922; 
San Francisco Art Association, 1923; Carnegie Institute, Pittsburgh, 1923; The John 
Herron Art Institute, Indianapolis, 1923.. 


ASIA MINOR 

THE GHIORDES GROUP 

Ghiordes is a name derived from ancient Gordium, and from this district come the rugs 
of this group. The city of Ghiordes is situated in Asia Minor, northeast of Smyrna. 
A general characteristic is the exceedingly short pile, rough to the touch. Another is 
the large number of tightly woven knots to the square inch. These rugs are compara¬ 
tively small, the average size being about six feet by four feet, and are prayer rugs, well 
defined by the prayer niche. The color runs high in key, above middle value as a rule, 
with white much in evidence. Saturated color is rare; the reds, greens, and blues are 
neutral or greyed. Orange and violet are entirely missing. Close-fitting, mosaic-like pat¬ 
terns prevail, producing an allover effect, the only open area being the niche. The arch 
has a shoulder, and a single, high peak or crown, with a supporting column, or a detached 
pilaster simulating a- column. In the arch a composite leaf and flower design appears, 
simulating a mosque lamp. The general decoration of the spandrel is a sinuous stc m, 
leaf, and flower motif completely filling the area. There are usually two panels, one 
above and one below the niche. The prevailing design of the main border includes the 
lanceolate leaf, palmette, rosette, and hyacinth motifs, usually contracted, and conform- 


23 


BALLARD COLLECTION 



Ghiordes Prayer Rug, Seventeenth Century No. 14 


























































OF ORIENTAL RUGS 


ing in general shape to rectangular units. An angulated running vine, and detached 
rectilinear floral forms are the common motifs for the inner and outer borders. These 
borders, though often similar, are rarely wholly identical in color, motifs, and composition. 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 14 

Ghiordes knot, QQ-132 to sq. in.: 11-12 vert.; Q-II hor. [5 ft. 8 in. by 4 ft. 3 in.] 

The field of the prayer niche is a warm buff color. The usual panels are miss¬ 
ing, and there is no suggestion of either lamp or column. The arch is pointed 
and outlined in wavy yellow, black, green, and red lines. This arch is unusual 
because of its lack of support, and because the springing line, in relation to the 
flank of the arch, does not conform to the usual conception of the arch in 
Ghiordes rugs. CThe spandrel is white and is decorated with a floral ara¬ 
besque and eight-pointed stars in red, yellow, green, blue, and violet. CThe 
main border is yellow decorated with the Herati motif with the lanceolate 
leaf, palmette, rosette, and hyacinths well defined. The color scheme of the 
design is red, bits of yellow, green, two tones of blue, violet or brown, and 
white. CThe inner border is decorated with an eight-pointed star motif in 
white with red centre, and a curled motif in red, on a blue ground. The guard 
stripes are decorated with a reverse curve motif, alternating green and white, 
on a red ground. They are flanked with white on the inside edges and white 
and brown on the outside edges. CThe outer border has the same design as the 
inner border except that the ground is brown instead of blue. The guard 
stripes are the same as those of the inner border. CThere is a short fringe of 
warp threads at each end and a new selvedge has been added at the sides. Cer¬ 
tain characteristics, especially the springing of the arch, point to the possi¬ 
bility of this being a rug from Konia. Ballard Collection, No. 17. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY. [ASIA MINOR] No. 15 

Ghiordes knot, 12O-I40 to sq. in.: 12-14 vert.; 10 hor. [5 ft. J in. by 4 ft. 2 in.] 

The prayer niche of this rug is a deep cream color and is outlined with blue, 
yellow, and red lines, which form a pitched arch and are continued down the 
sides of the niche in a reciprocal sawtooth pattern in yellow and red. Two 
floral bands, like pilasters, in two tones of red and blue, take the place of col- 


25 



BALLARD COLLECTION 



Ghiordes Prayer Rug, Seventeenth Century No. Iy 













OF ORIENTAL RUGS 


umns. At the ends of the pilasters are foliated motifs in red, green, and white, 
which replace capitals and bases. Across the base of the niche are five detached 
pinks in two tones of red, and white, with leaves and stems in two tones of blue. 
In the peak of the arch are assembled floral forms, probably simulating a 
mosque lamp. The spandrel is decorated with a serrated leaf and stem motif 
in red and yellow, on a dark blue ground. CEThere is a narrow panel above the 
spandrel with a dark blue ground on which are pomegranates and a so-called 
mosque lamp unit. Red and white predominate, but touches of yellow appear 
throughout the design. Surrounding the panel is a narrow stripe with uniden¬ 
tified angulated forms in yellow, green, blue, and white, outlined in light 
brown or “taupe.” To separate this panel from the spandrel a narrow band is 
introduced. It is green, with flower, leaf, and stem motifs outlined in white 
and yellow. CE Below the niche is a narrow stripe-like panel decorated with 
triangular units diagonally placed and separated by a dark red zigzag line 
which defines the triangular areas. Opposite triangles are the same color; two 
in red, two blue, two green, and two white. The elaboration of the tips of the 
triangles and the motif in the centre are reminiscent of the pomegranate 
design. Surrounding the panel and extending along the sides of the niche and 
spandrel is a narrow stripe in white, decorated with a double T motif in red, 
green, or blue. The main border has the lanceolate leaf, palmette, and rosette 
pattern, on a blue ground. The color scheme of the design is two tones of red, 
yellow, two tones of blue, and white. CEThe inner border is decorated with the 
pink motif in red, outlined in white, with yellow, green, and blue leaves and 
stems. The design so completely covers the field that no background is visible. 
Buff guard stripes, decorated with a running vine of red, with varied green 
and yellow leaf or flower forms, flank the inner border. CEThe outer border is 
decorated with a modified meander design outlined in white on a red ground. 
The guard stripes, which are the same width as the border, are buff, decorated 
with a running vine motif in blue, outlined in brown and embellished at regu¬ 
lar intervals with leaf forms in red. CEThere is a green and yellow silk fringe 
at each end Ballard Collection, No. 18. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


GHIORDES BECTASH MOHAMMEDAN PRAYER RUG OF 
THE EIGHTEENTH CENTURY, [asia minor] No. 16 

Ghiordes knot, 77-78 to sq. in.: II vert.; 7-8 hor. [6 ft. 2 in. by 3 ft. 8 in.] 

The light green ground, of varied tonality, has a decoration of pointed trees, in 
red and yellow. This tree motif surrounds the outer portion of the rug, with 


27 


BALLARD COLLECTION 



Ghiordes Bedash Mohammedan Prayer Rug of the 
Eighteenth Century No. l6 








OF ORIENTAL RUGS 


the tops of all the trees pointing in the same direction. They thus form a nar¬ 
row border at the sides and a wider one at the ends. A narrow white border 
also surrounds the rug and serves as a background for the trees, but it is not 
increased in width at the ends; therefore only a part of the tree motif on the 
ends is supported by it. On the centre of the rug is a large shaded leaf and 
flower spray in two tones of red, two tones of yellow, and white, springing 
from what may be a tall vase form, in yellow, outlined in red. White elongated 
picots, tipped with red, project from the sides of this form. At the right and 
left is a small tree form in white, flecked with red and yellow, with tops bend¬ 
ing inward. Surrounding these centre motifs is a border of pointed trees, on a 
white ground, similar to the outer border, stepped at the top to form an arch. 
The crown of the arch is ornamented with an unidentified symbolic form with 
a vadjra-like centre motif in red, from which is suspended a mosque lamp in 
yellow and red. Two tall, pointed trees, with tops bending inward, extend 
upward from the white border of the niche and flank the arch. 

Ballard Collection, No. 19. 

Illustrated: Notable Antique Oriental Rugs, Tiffany Studios, 1906, opp. p. 60. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


KIS GHIORDES RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] NO. 17 

Ghiordes knot, I JO to the sq. in.: IJ vert.; 10 hor. [5 ft. J in. by 4 ft. 2 in.] 

The field of this rug is a light yellow, decorated with an allover pattern of 
small unidentified forms outlined in brown and arranged obliquely in parallel 
rows. These small forms may be a double point of the eight-pointed star motif, 
which is clearly seen in the borders of rug No. 14. In the centre of the niche is 
a blue lozenge, decorated with a four-pointed star-shaped tile, outlined in 
white and red. This tile is divided into four parts enclosing on a green ground 
two small lozenge motifs in red, blue, and white, and two so-called scorpion 
designs, in red and white. Small flower forms in white and red project from 
the sides into the outer blue field. The blue lozenge is outlined in red, which 
evolves into hook motifs. Along each side of the niche is a row of flower forms 
in red and black. At the ends of each row are small ewers. The field is arched 
at both ends, and from the peak of each arch is suspended a floral design simu¬ 
lating a mosque lamp. The arches are outlined in brown, green, and red, and 
hook motifs in red, outlined in green, project into the field at regular inter- 


29 


BALLARD COLLECTION 



Kis Ghiordes Rug of the Seventeenth Century No. IJ 

























OF ORIENTAL RUGS 


vals. CThe spandrel has a black ground and is decorated with a conven¬ 
tionalized leaf with serrated edge, a conventionalized spreading flower, and 
a simple cloud form, together with small flower forms. The design is in 
two tones of red, yellow, green, blue, and violet. Surrounding the field is a 
spotted line in red and white. CTAt each end of the rug is a panel deco¬ 
rated with sprays of three flowers, arranged to fit rectangular spaces. The 
flowers are red, the stems are brown, and the leaves and sepals are either red, 
yellow, green, or white. One of the panels is surrounded by a red stripe deco¬ 
rated with an indefinite floral motif. The other panel is surrounded by a 
red stripe decorated with a zigzag line in yellow, green, blue, brown, and 
white. CThe main border is made up of alternating blue and black triangles 
separated by a wide yellow band decorated with the same unidentified leaf-like 
form which decorates the field of the niche. The triangles, which point in 
opposite directions, form in connection with the separating band a zigzag 
pattern. They are decorated with an unusual floral pattern in three tones of 
red, yellow, green, light blue, and white. The edges of the band are broken by 
hook motifs in red, spaced at regular intervals. CThe inner and outer borders 
are identical. They are decorated with a running stem, flower, and leaf pat¬ 
tern. The vine is green, the flowers red and violet, and the leaves red and 
blue. The character of the pattern suggests the iris as the basis of this design. 
The guard stripes are spotted with red and blue. CAt each end there is a long 
green silk fringe which extends around the corners. The “Kis” Ghiordes is 
a betrothal rug, made by a maiden as part of her dowry. Formerly in the 
Holstein Collection. Ballard Collection, No.20. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; Metropolitan Museum of Art, 
New York, 1921; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, 
Indianapolis, 192/}.. 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 18 

Ghiordes knot,220-231 to sq. in.: 20-21 vert.; II hor. [5 ft. J in. by 4 ft. I inf] 

The field has a creamy white niche, with a pointed arch defined by wavy lines 
in white, blue, black, yellow, and light red. The wavy lines straighten out and 
extend down the sides and across the base of the niche. At each side of the 
niche is a pilaster-like band decorated with a floral lozenge pattern in red, 
green, blue, white, and black. It is guarded by black lines, and at the ends is a 
small foliate form in white, outlined in red, with a green centre, outlined in 
brown. At the base of the niche are pomegranates, rosettes, and other small 
floral forms in two tones of red, yellow, blue, black, and white. In the peak of 


3i 


BALLARD COLLECTION 



No. 18 


Ghiordes Prayer Rug of the Seventeenth Century 







































































OF ORIENTAL RUGS 


the arch is a beautiful floral form in red, blue, black, and white. From the 
sides of the niche and across its base is a row of short oblique lines, in pairs, in 
blue, black, and white. CThe blue spandrel is decorated with two stem, leaf, 
and flower motifs in two tones of red and white with touches of yellow. 
GAbove the spandrel is a narrow blue panel decorated with the pomegranate, 
rosette, and so-called mosque lamp in two tones of red, yellow, blue, black, and 
white. This panel is enclosed by a red stripe, decorated with floral forms in 
blue and white, outlined in black, on a red ground. Surrounding the niche and 
spandrel is a grey-green stripe, decorated with a design made up of conven¬ 
tionalized flower forms [perhaps representing the palmette] alternating with 
a lily. The color scheme is red, yellow, light blue, black, and white on a light 
green ground. The stripe is guarded by white lines. C Below the niche is a 
second panel with a white ground, decorated with three conventionalized 
cloud-band forms in blue. Interspersed upon the white ground are bent leaf 
motifs and small hydra-like forms in two tones of red, yellow, blue, and black. 
Separating this panel from the field is a narrow stripe of white decorated with 
crossed reverse curve forms in brown. CThe main border is made up of a 
conventionalized lanceolate leaf and palmette motif, alternating with a lance¬ 
olate leaf and rosette motif, with intermediate small flower forms. The color 
is two tones of red, yellow, green, two tones of blue, and white, on a dark 
ground. CThe inner border has an angulated vine pattern in white, outlined 
in red, from which spring inconspicuous flower forms in yellow and blue, also 
outlined in red, on a yellow ground. The guard stripes are decorated with an 
indistinct form, probably floral, in red, blue, green, black, and white. The 
guard lines are red. CThe outer border is decorated with a meander vine 
pattern in white, outlined in red, with small flower forms in red, blue, and 
white in the intervening spaces. It has a yellow ground. The guard stripes, 
which are white, are decorated with the “curl” pattern in red, blue, and black. 
They are flanked with red lines. CThere is a short blue web at each end. 
Formerly in the collection of Emily Grisby. Ballard Collection, No. 21. 

Exhibited: Pennsylvania Museum, Philadelphia, ip'rp; Metropolitan Museum of Art, 
New York, 1921; Carnegie Institute, Pittsburgh, 1923; TheJ_ohn Herron Art Institute, 
Indianapolis, 1924. 

GHIORDES PRAYER RUG OF 
CENTURY, [asia minor] 

Ghiordes knot, 140-160 to sq. in.: 14-16 vert.; 10 hor. [6 ft. 3 in. by 4 ft. 6 in.~\ 

The niche is a delicate green, outlined by a narrow stripe flanked with brown, 
and in the arch is a large floral form in white, outlined in red, with touches of 



SEVENTEENTH 


No. i< 


33 


BALLARD COLLECTION 



Ghiordes Prayer Rug of the Seventeenth Century 


No. IQ 



















































































OF ORIENTAL RUGS 


yellow and blue. Around the sides of the niche and across the base is a row of 
fruit sprays in red and white. White pinks outlined in red project from the 
flanks of the arch into the field. CLThe spandrel has a light blue ground deco¬ 
rated with parallel rows of flower sprays in which red flowers, outlined in 
white with yellow leaves and dark stems, alternate with white flowers, outlined 
in red with yellow leaves and red stems. CThe panel which is located above 
the spandrel is decorated with conventionalized floral forms in red, yellow, 
green, blue, brown, and white, on a dark blue ground, with white predomi¬ 
nating. CThe panel below the niche is made up of conventionalized flowers 
and is similar to the one above the niche. It is enclosed by a stripe decorated 
with a flower, bud, and stem motif in red, yellow, and two tones of blue, out¬ 
lined in brown, on a white ground. CThe main border is decorated with rect¬ 
angular units, each filled with a large serrated blue leaf with a red, white, or 
yellow centre, and two conventionalized pomegranates in white, with green 
and white centres and dark blue stems. The ground is white and in the inter¬ 
stices are small flower forms. CThe inner border has a red ground and a 
zigzag pattern in white with flower forms alternating red and yellow, and leaf 
forms alternating green and blue. This design is somewhat reminiscent of the 
iris. The guard stripes are white, decorated with an undulating line in yellow, 
blue, and brown. The inner one extends across the field, separating the upper 
panel from the spandrel. CThe outer border is decorated with what appears 
to be a leaf motif, placed obliquely on the red ground and forming rectangular 
units. The design has certain characteristics of the lily. One leaf unit is in 
blue, one in green, and one in white, accented by brown outlines. In the color 
sequence the white ones appear between the blue and green ones. The guard 
stripes are the same as those of the inner border. A narrow blue and brown 
stripe extends around the outer edge of the rug. Ballard Collection, No. 22. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


GHIORDES PRAYER RUG OF THE EIGHTEENTH 
CENTURY, [asia minor] No. 20 

Ghiordes knot, 154-165 to sq. in.: 14-15 vert.; II hor. [5 ft. II in. by 4 ft.] 

The field of the niche is the color of old ivory. The arch is supported by col¬ 
umns which are decorated with an undulating vine in delicate light blue on a 
yellow ground. Flower forms in red, yellow, white, and brown, outlined in 
brown, occur in the undulations of the vine. The column is flanked with brown 
lines from which projectyellow leaf-like forms similar to the pomegranate leaf. 


35 


BALLARD COLLECTION 



EE3ES 




Ghiordes Prayer Rug of the Eighteenth Century 


No. 20 


































































OF ORIENTAL RUGS 


Toward the top of the column these leaves are outlined with brown, chang¬ 
ing character of the design. Surmounting each column is a foliated capi¬ 
tal in yellow, with an abacus decorated in blue, white, and brown, on an orange 
ground. At the base is the usual foliated motif, but in this case a small flower 
has been added in such a way that it recalls the ewer and flower motif seen in 
the spandrel of rug No. 57. Between the columns the base of the niche is filled 
with a pomegranate and leaf motif in red, yellow, and brown, between two 
mosque lamp devices in red, yellow, and blue. The flank of the arch is a simple 
indented yellow line outlined in brown. Suspended from the arch is a floral¬ 
like mosque lamp. CThe spandrel is decorated with detached arabesques in 
two tones of yellow and white with bits of red and blue on a dark blue ground. 
It narrows at the bottom, extending downward on each side to meet the col¬ 
umns. The ground of the spandrel extends upward and terminates in five arrow¬ 
head forms which are outlined in orange, white, and brown. Above these 
arrowhead forms the color changes to yellow. At the point of each arrowhead 
is a modified pomegranate motif in various combinations of orange, yellow, 
blue, or white, outlined in brown, and between is a plant or tree motif in 
brown, blue, and white. CThe panel above the spandrel is decorated with 
strange motifs highly conventionalized and simulating plant and flower forms. 
This design is in red, yellow, two tones of blue, and white, on a brown ground. 
Enclosing the panel is a narrow stripe decorated with a running pattern in red, 
yellow, blue, and brown, on a white ground. CA second panel is placed at the 
base of the niche. It has a yellow ground and is decorated with what appears 
to be a cloud motif, in blue; archaic animal forms, hydralike, in brown or 
white; and a bent-leaf motif in yellow. The cloud band encloses a tree-like 
motif in brown and white. The panel is outlined with a brown stripe on which 
is a running vine-like motif in red, yellow, two tones of blue, and white. Sur¬ 
rounding the entire field and enclosing both panels, is a yellow stripe decorated 
with an indistinct leaf, stem, and bud motif in red, orange, blue, and white. 
Where this stripe borders upon the niche a picot edge, tipped with blue, is 
added. CThe main border is decorated with lanceolate leaf, palmette, rosettte, 
and hyacinth motifs in two tones of red, yellow, green, three tones of blue, 
brown, and white, on an orange ground. This border is exceptional as orange 
rarely occurs in rugs of this group. CThe inner border is decorated with a 
continuous flower pattern on a blue ground. The flowers are red, yellow, 
orange, and white, outlined in brown, with no regular color sequence. The 
guard stripes are red, decorated with a reverse curve motif in red, orange, 
yellow, two tones of blue, and white. White lines flank these stripes. CThe 
outer border is decorated with what may be the pink motif, on a dark blue 
ground. The flowers are red, orange, yellow, blue, and white, variously out¬ 
lined. The guard stripes are decorated with a crossed reverse curve motif in 


37 


BALLARD COLLECTION 



Ghiordes Prayer Rug of the Seventeenth Century 

No. 21 



































































OF ORIENTAL RUGS 


red, orange, yellow, blue, and brown, on a white ground, and are flanked with 
a red line on one side and a yellow line on the other. GA web and fringe 
extend beyond the pile at each end. Ballard Collection, No. 23 . 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 21 

Ghiordes knot, 130-168 to sq. in.: IJ-I4vert.; 10-12 hor. [5 ft.8 in. by 4 ft.2 in.] 

A wonderful blue is used in the prayer niche of this rug. It is decorated with 
ribbon-like pilaster forms in buff, with a running vine in red, and attached leaf 
or flower motifs in green and blue, outlined in brown. At the ends of the pilas¬ 
ters are foliated motifs in red and green, outlined in white, simulating capitals 
and bases. In the arch is a conventionalized leaf and flower design in red, 
yellow, light blue, and white, with a strange motif in the centre which may be 
a mosque lamp. The flank of the arch is outlined in wavy white and brown 
lines, which straighten out and then extend down the sides and across the base 
in a sawtooth pattern. Projecting from the sides and base of the niche are small 
forms like the pomegranate leaf, in red outlined in white. CThe spandrel is 
decorated with a highly conventionalized flower form in two tones of blue and 
white, outlined with brown, and designed to fill a rectangular space. The 
ground of the spandrel is green. CAbove the spandrel is a panel decorated 
with pomegranates and the same mosque-lamp-like device which appeared in 
the arch. The color scheme is red, yellow, green, light blue, brown, and white, 
on a dark blue ground. C Below the niche is another panel decorated with a 
three-flower form in red, outlined in white, with brown stems, alternating with 
the same motif in white, with yellow stems and red leaves. The ground of the 
panel is green-blue. Surrounding the field and both panels is a white stripe, 
flanked with brown lines, and decorated with a running vine motif in red, with 
blue and green flower forms outlined in brown. CThe main border is deco¬ 
rated with motifs in red, two tones of blue, yellow, green, and white, on a white 
ground. They are designed in rectangular units. The predominating blue 
color scheme in one motif alternates with the predominating red color scheme 
in another. CThe inner border is decorated with a red flower motif outlined 
in white, regularly placed in a close pattern with stems alternately turned to 
right or left, and alternating blue and green, with now and then a yellow which 
gives variety to the design. The small areas between the motifs are filled with 
brown. The guard stripes are white and are decorated with an angular run- 


39 


BALLARD COLLECTION 



Ghiordes Prayer Rug of the Seventeenth Century 


No. 22 






























































































































































OF ORIENTAL RUGS 


n.ing design in yellow, green, blue, and brown. They are flanked by brown 
lines. CThe outer border is decorated with a red flower, outlined with white, 
designed to conform to a rectangle. These flowers are regularly placed, and 
butt each other, so that the border has the appearance of closely fitting rect¬ 
angular units. As in the inner border, the small areas surrounding the designs 
are brown. The guard stripes are yellow, decorated with a zigzag white line, 
and flanked with brown, except at one end where the inner brown stripe is 
omitted, and at the other where red has been interpolated. ([There is a blue 
and white web at each end. Ballard Collection, No. 24 . 

Illustrated : International Studio, 1914. 

Exhibited: Carnegie Institute, Pittsburgh, 1923: The John Herron Art Institute, Indi¬ 
anapolis, 1924, 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY. [ASIA minor] No. 22 

Ghiordes knot,216-240 to sq. in.: 18-20 vert.; 12 hor. [6 ft. 8 in. by 4 ft. 3 in.] 

The niche has an ivory white ground. The arch is defined by wavy blue, white, 
brown, and yellow lines which extend down the sides in a wide sawtooth pat¬ 
tern. At each side of the niche is the usual pilaster form made up of hexag¬ 
onal units closely placed at the top and widely spaced at the bottom. The 
ends of the pilasters have a foliated design outlined in red with green centres. 
Across the base is a panel-like area, filled with the pomegranate and the 
mosque lamp motifs. The design is wrought in a sketchy manner which adds 
to the lightness and charm of the rug. The same is true of the composite leaf 
and flower form seen in the arch. In this flower form, which is a simulated 
mosque lamp, two lily forms in red, not often seen in this connection, are intro¬ 
duced. CThe spandrel is a dark blue, decorated with a flowing leaf and flower 
spray which completely fills the space. At the base, and toward the middle, 
the design thickens, forming comparatively large buff-colored areas. The gen¬ 
eral color scheme of the design is red, two tones of yellow, green, and brown. 
Above the spandrel is a white stripe decorated with a red flower motif, with 
alternating blue and dark red stems. It is flanked with red guard lines which 
continue down the sides and across the base of the field. CThe panel above the 
spandrel is decorated with red and white pomegranate motifs, between which 
appears the so-called mosque lamp. The color scheme is red, yellow, green, 
blue, and brown, on a dark blue ground. Enclosing the panel is a stripe with a 
white ground, decorated with a connected flower motif in yellow, green, and 
blue, outlined in brown. At regular intervals one of the motifs appears in 


4 1 


BALLARD COLLECTION 



Ghiordes Prayer Rug of the Seventeenth Century 


No. 23 






















































OF ORIENTAL RUGS 


outline only. This stripe has brown guard lines. CAt the base of the niche is 
another panel with the same design as the panel above, and the same general 
color scheme, with the exception of the ground, which is grey-green. Above 
the panel is an extra horizontal stripe in white, decorated with a lozenge pat¬ 
tern in red, flecked with yellow and green. Surrounding the field is a blue 
stripe decorated with an unidentified form, undoubtedly floral, but with 
squared corners, which alternates with another unidentified plant motif termi¬ 
nating in three prongs. The floral forms are white outlined in red, and red 
outlined in white. The intermediate motif is yellow and white outlined in 
brown. CThe main border has a modified form of the Herati pattern, includ¬ 
ing the palmette, rosette, lanceolate leaf and hyacinth motifs. The color 
scheme is red, yellow, green, two tones of blue, and white, on a dark ground. 
On each side is a red guard line. CThe inner border has an angular reverse 
curve motif, broken in the centre by a flower form and terminating at each end 
in a three-lobed leaf form. The main portion of the design is white outlined in 
red, and the leaves are green and blue, outlined in red and brown respectively; 
the ground is dark blue. This design may also be described as a running vine, 
flower, and leaf pattern. The guard stripes are made up of a squared zigzag 
line in white, outlined in red, with the interstices filled with blue and yellow 
forms on a white ground. No definite guard lines are used. CThe outer border 
is identical with the inner border. The guard stripes are decorated with a 
somewhat indefinite design, probably a flower and leaf motif. The ground is 
white and the motif is in two tones of red, yellow, and green. GAt the upper 
end of the rug is a short fringe. At the lower edge the warp is extended and 
decorated with a triangular pattern in kilim stitch. The thinness and light 
weight of the rug are remarkable. Ballard Collection, No. 25 . 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 23 

Ghiordes knot, 126-135 to sq.in.: 14-15 vert.; Q hor. [5 ft. 6 in. by 4 ft. 4 in.] 

The field of the prayer niche is red. Suspended from the arch is a floral form 
in red, yellow, green, blue, brown, and white, in the centre of which is another 
form, possibly part of a mosque lamp. Two pilaster-like strips appear at right 
and left in the niche. They are decorated with a lozenge motif in white, with 
a red centre, on a blue ground. White and brown lines flank them. At the top 
and base is a foliated form in white with a blue and red centre. A picot pattern 
in light blue extends down the sides. Across the base of the niche is a formal 


43 


BALLARD COLLECTION 


row of pinks, with yellow, blue, and green petals outlined in brown. The 
flanks of the arch are zigzag lines in yellow, white, brown, and red, which 
extend down the sides and across the base in a broadened sawtooth pattern. 
CThe spandrel has a buff ground and is decorated with a scroll design in 
white, outlined in violet and embellished with red and blue. This design 
resembles the pomegranate. CThe panel above the arch has two motifs, one a 
conventionalized pomegranate in red, and the other the lamp-like form which 
appears in the centre of the arch motif. The ground of the panel is yellow, 
changing to blue in the upper part. Surrounding the panel is a red stripe 
decorated with a vine motif in violet with a three-petaled leaf or flower motif 
in blue and green. It is flanked by brown lines. CThe main border is deco¬ 
rated with a modified form of the Herati border pattern, with the palmette, 
lanceolate leaves, rosette, and hyacinths placed closely together. The color 
scheme is two tones of red, two tones of yellow, green, and two tones of blue, 
on a dark ground. CThe inner border is decorated with the pink in two tones 
of red, yellow, and white, on a blue ground. The guard stripes are decorated 
with interlocking red and brown reverse curve motifs on a white ground. 
There is one guard line only, in brown. CThe outer border, as well as the 
inner one, is decorated with a pink, in red, with yellow, blue, and green stems 
and leaves, on a dark ground. At each side of the border is a red line. The 
guard stripes are decorated with crossed reverse curve forms in red and brown 
on a white ground. The S motif of the guard stripes is irregular, sometimes 
crossed, sometimes not, and sometimes reversed. C A green silk fringe has been 
added at each end and extends part way down the sides. 

Ballard Collection, No. 26. 

Exhibited: The Cleveland Museum of Art, 1919; Carnegie Institute, Pittsburgh, 1923; 
The John Herron Art Institute, Indianapolis, 1924. 

GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY. [ASIA MINOR] No. 24 

Ghiordes knot,20(J-262 to sq. in.: IQ-22 vert.; 11-12 hor. \6ft. I in. by 4 ft.6 inf] 

The field of the niche is creamy white. At each side is a pilaster-like form 
decorated with a lozenge design outlined in blue with red and white centres. 
The sides of the pilasters are flanked with white and brown lines. A foliated 
motif in red and blue is attached to the top and base of each pilaster. Across 
the base of the niche is a formal row of pinks. The petals are red, light blue, 
and yellow and the leaves dark blue. The arch is outlined with wavy lines of 
red, blue, brown, yellow, and white. They extend down the sides in a fine 
sawtooth pattern. CThe spandrel is decorated with a sinuous flower scroll in 
white outlined in red with four prominent red areas, on a dark blue ground. 


44 


OF ORIENTAL RUGS 



Ghiordes Prayer Rug of the Seventeenth Century 


No. 24 






















































































































BALLARD COLLECTION 


Projected from the angles of the upper section of the arch are small pinks in 
red and white. Above the spandrel is a panel decorated with the pomegranate 
and rosette pattern and an unidentified form, possibly a mosque lamp motif, in 
red, two tones of yellow, blue, and white, on a blue ground. Surrounding this 
panel is a very narrow border of white, decorated with a reverse curve motif 
in brown and red. A wider stripe also surrounds the panel. It has a modified 
lozenge design. The lozenges are in red with a star-shaped motif in the centre 
in yellow, blue, and white, outlined with brown. There are short bands in 
brown decorated with yellow and white reverse curve motifs, and flanked 
with white lines crossing the border obliquely. In the interstices formed by 
the bands and the lozenges are light blue and white triangles. C Below the 
niche is a second panel with a blue ground decorated with a form like the 
cloud band, in red; four hydra-like animals in yellow and white, and four in 
blue and white, are also a part of the panel design. A series of bent leaves, four 
in blue, yellow, and white, and two in yellow and white, complete the decora¬ 
tion. There is a red stripe below the panel decorated with yellow and blue 
leaf forms, with green stems. CThe main border is decorated with the lanceo¬ 
late leaf, palmette, rosette, pink, and hyacinth design in red, yellow, two tones 
of blue, and white, on a brown ground. CThe inner border has a heavy run¬ 
ning vine, leaf, and flower design. The vine is red, outlined in white, with 
blue and yellow flowers and leaves arranged in an irregular color sequence. 
The white guard stripes which flank the inner border are decorated with a 
running vine pattern in blue, outlined in brown, with red leaves. The guard 
lines are brown and red. CThe outer border is a modification of the reverse 
curve pattern, with a flower motif crossing the centre, and leaves forming the 
terminals of the curve. The vine and flowers are red outlined in white, and 
the leaves are yellow outlined with red. The ground is blue. The guard stripes 
which flank it are decorated with the “curl” pattern. The colors are red, 
yellow, blue, and brown, on a white ground. The guard lines are brown and 
red. C A short fringe of blue and green warp threads projects beyond the pile. 

Ballard Collection, No. 27. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

GHIORDES PRAYER RUG OF THE EIGHTEENTH 
CENTURY, [asia minor] No. 25 

Ghiordes knot, IQ 8-220 to sq. in.: l 8 - 20 vert.; II hor. [4 ft. 4 in. by 4 ft. 2 in~\ 

The rose red of the field is decorated with two ribbon-like pilasters at the right 
and left and with a floral design suspended like a lamp from the crown of the 
arch. The decoration of the pilasters is a lozenge design outlined in brown, 


46 


OF 0RIENTAL RUGS 



Ghiordes Prayer Rug of the Eighteenth Century No. 2 5 




















































































































BALLARD COLLECTION 


enclosing red and blue centres. The ground is grey-green. Light and dark 
brown lines guard the pilaster, and down each side is a picot pattern in white. 
The tops and bases are decorated with a foliated motif in white, outlined in 
brown, with a grey-green centre outlined in red. These take the place of 
capitals and bases. The flank of the arch is made up of zigzag lines in white, 
two tones of brown, and red, extending down the sides and across the base in a 
fine sawtooth pattern. ([The spandrel is made up of two sinuous leaf and 
flower scrolls in white outlined in red and red outlined in white, on a blue 
ground. ([The panel above the spandrel is decorated with a pomegranate 
interspersed with a motif which may be a mosque lamp. This motif often 
occurs in connection with floral motifs used to represent a mosque lamp in the 
crown of the arch, as may be seen in this rug. The color scheme of the panel 
is red, yellow, grey-green, and white, on a dark blue ground. The panel is 
enclosed by a narrow stripe decorated with an unidentified arrow-like form in 
red, white, and yellow, outlined in brown. ([Below the niche is a second panel 
decorated with pomegranate motifs in red, yellow, and white, on a blue ground. 
It is also surrounded by a band decorated with the same arrow-like form that 
appears in the stripe surrounding the upper panel. The main border is deco¬ 
rated with three pomegranates in cross section, with stems and leaves compos¬ 
ing a rectangular unit, on a white ground. These units alternate in red, and 
light blue, with the sequence interrupted at each side by the introduction of 
brown in two of the units. ([The inner border is decorated with detached 
flower sprays in red, yellow, and blue, outlined in white, on a light grey-green 
ground. The guard stripes are grey-green decorated with an angular motif in 
brown and white separated by small brown dots. Each stripe is flanked with 
brown guard lines. Around the field is a white stripe decorated with a small 
flower and stem motif in red and blue, red and green, red and brown, or red 
and violet. ([The outer border is decorated with a palmette-like motif in red, 
yellow, grey-green, blue, and white, outlined in brown. It is flanked with guard 
stripes similar to the inner ones. There is a short warp fringe at each end. 

Ballard Collection, No. 28. 

Exhibited: Pennsylvania Museum, Philadelphia, rprp; The Cleveland Museum of Art, 
1919; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indian¬ 
apolis, 1924. 

GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 26 

Ghiordes knot, IQ $-2 34 to sq. in.: I $-l8 vert.; 13 hor. [5 ft. 4 in. by 3 ft. 11 in.\ 

The field of the niche is cream colored and is outlined in blue, brown, and 
white. Yellow and red lines are added at the sides and across the base, forming 


48 


OF ORIENTAL RUGS 



Ghiordes Prayer Rug, Seventeenth Century No. 20 
















































BALLARD COLLECTION 


a broader, zigzag pattern. At each side are ribbon-like pilasters decorated 
with a running vine pattern in red, outlined in white, with attached flower 
forms in yellow and light blue, on a dark blue ground. Brown and white lines 
flank the pilasters. At the ends are foliate forms, simulating capitals and bases, 
in red, blue, and white, outlined in brown. Suspended from the arch is a floral 
and leaf form in the general shape of a mosque lamp. Along the base of the 
niche are four flower, bud, and leaf motifs in red, yellow, and dark blue. (I Half 
of the spandrel is decorated with an arabesque in white and blue, on a yellow 
ground. The other half is like a Ladik panel in miniature, having the typical 
arrowhead forms, the pomegranates, and an intermediate stalk and leaf motif 
[not wholly visible in the reproduction]. The yellow ground of the lower part 
of the spandrel extends upward into the arrowhead forms. The rest of the 
ground is red. The design in the red portion is in yellow, green, two tones of 
blue, black, and white. At the top of the spandrel is a very narrow white stripe 
decorated with a minute curl motif in black. CThere is a panel above the 
spandrel. It is decorated with two pomegranate and flower motifs resembling 
the Herati pattern. In the middle of the panel is a form which seems to replace 
the rosette of the Herati design, or, as has been suggested elsewhere, may be a 
mosque lamp device. The color scheme is red, yellow, light blue, and black, 
on a dark blue ground. The panel is enclosed in a white stripe decorated with 
a continuous curled leaf and flower pattern in red, yellow, blue, and black, on 
a white ground. G Below the niche is a second panel decorated with a lozenge 
pattern in red, yellow, blue, black, and white. Enclosing this panel and the 
field is a blue stripe decorated with the pink motif in red, yellow, and white, 
spaced to form rectangles repeated at regular intervals. CThe main border 
has the typical lanceolate leaf, palmette, and rosette pattern, in full color on a 
yellow field, which is replaced in parts by brown. CThe inner border is a 
rinceau motif in white outlined in red, changing to yellow at the upper end. 
The ground is blue and the leaves of the rinceau are yellow, green, and blue. 
The guard stripes are red decorated with a zigzag line in yellow, blue, black, 
and white, and are flanked with white and black lines. CThe outer border is 
yellow, decorated with alternating lily-like motifs and rosettes in red, yellow, 
blue, black, and white. It is guarded by red stripes, which are decorated with 
a running white vine, with leaves in blue and green outlined with black. Black 
and white lines guard this stripe. There is a blue web at each end to which has 
been added a braid interwoven with silver thread. Ballard Collection, No.29. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; Metropolitan Museum of Art, 
New York, 1921; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, 
Indianapolis, 1924. 


SO 


OF ORIENTAL RUGS 







Ghiordes Prayer Rug of the Seventeenth Century 


No. 2J 










































































BALLARD COLLECTION 


GHIORDES PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 27 

Ghiordes knot, 165-IJ6 to sq. in.: 15~l6vert.; 11 hor. [5 ft. J in. by rf ft. I inf] 

The field of the niche is a rich red enhanced by a fine design of floral and leaf 
motifs assembled in the shape of a mosque lamp which hangs from the crown 
of the arch. The color scheme is red, yellow, two tones of blue, white, and 
black, with light blue predominating. The arch of the niche is outlined in 
wavy lines of blue, brown, red, and yellow, which form a sawtooth pattern 
down the sides and across the base. CThe spandrel is decorated with a grace¬ 
ful stem, leaf, and flower pattern in red, yellow, light blue, and white, on a 
blue ground. CThe panel above the spandrel is decorated with an elongated 
polygon enclosing a pomegranate and a so-called mosque lamp device with the 
central motif thrown out of centre to the left. The color scheme is two tones of 
red, yellow, blue, black, and white, on a green ground. The triangular areas 
at the ends are decorated with a light blue lineal pattern on a yellow ground. 
This design, however, is not visible in the reproduction. Surrounding the 
panel is a red stripe decorated with a running vine in green, with yellow, blue, 
and white conventionalized flowers, outlined in brown. It is guarded with 
red, brown, and white lines. C Below the niche is a second panel similar to the 
one above, but the decoration is an allover effect, including palmette and 
rosette designs in two tones of red, yellow, and two tones of blue, on a green 
ground. At the ends of this panel the triangular areas are decorated with lineal 
patterns in light blue on a yellow ground. CThe main border is made up of 
the typical Ghiordes pattern, which includes the modified lanceolate leaf, the 
palmette, the hyacinth, and the rosette. The color scheme is two tones of red, 
three tones of blue, green, black, and white, on a yellow ground which changes 
to green at one end. CThe inner border is light blue, with dark blue substi¬ 
tuted at one end. It is decorated with a conventionalized plant motif alternat¬ 
ing in yellow and white and separated by red rosettes. Dark lines flank it. The 
guard stripes are red, decorated with a linked reverse curve pattern in white on 
a red ground and flanked with white. CThe outer border is dark blue and 
decorated with the same motif as the inner border, except for the introduction 
of green and rose in the rosettes. The guard stripes for this border are the 
same as the inner ones. C A short silk fringe has been added at each end. 

Ballard Collection, No. 30. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


52 


OF ORIENTAL RUGS 


GHIORDES RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] No. 28 

Ghiordes knot, I/fO-I$0 to sq. in.: I/J.-I$ vert.; 10 hor. ft. 2 in. by 4 ft. J in.~\ 


The light green color of the prayer niche is enhanced by a row of white pinks 
outlined in red, which project from the sides and base. The high, stepped arch 
is outlined in white and yellow lines which form a sawtooth pattern around 
the sides and base of the niche. In the arch is a circular flower design in red, 
two tones of blue, and white. CThe spandrel is decorated with five rows of 
rectangular units made up of conventionalized leaves on a blue ground, with 
red and white predominating. CThe panel above the spandrel has the same 
motif. It is enclosed by a stripe decorated with a running vine in white, out¬ 
lined in red, with leaves in blue and green. This stripe is guarded with white 
and brown lines. CThe panel below the niche is decorated with the pome¬ 
granate leaf, flower, and fruit in red, green, and light blue, on a dark blue 
ground. It is enclosed in a narrow stripe which is decorated with an indefinite 
running pattern in red, yellow, and blue. CThe main border is made up of 
three parallel stripes decorated with a fruit, leaf, and stem motif, on what was 
once a black ground. In the middle stripe red and white predominate, and 
yellow, green, and light blue are used for the stem of the motif. In the other 
two stripes red and white motifs alternate between blue ones. The ground is 
white and the stems of the motif are black. The original black knots have 
disintegrated so that the color scheme has been somewhat modified at the upper 
end. CThe inner border is made up of a lily-like motif arranged diagonally 
in rectangular areas. The lily motifs are either in red and blue, red and green, 
red and white, or white and green, with a somewhat irregular color sequence. 
The guard stripes are white, decorated with a light and dark zigzag line in 
blue, green, black, and white. Black lines flank the sides. CThe outer border 
has the same unit of design as the inner border. The motif is either in red and 
white, blue and white, or white and green, on an orange ground. The red and 
white unit alternates with the white and green unit, between blue and white 
ones. The guard lines are the same. A narrow blue and white stripe surrounds 
the entire rug Ballard Collection, No. 31. 


Exhibited: Pennsylvania Museum, Philadelphia, 1919; Metropolitan Museum of Art, 
New York, 1921; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, 
Indianapolis, 1924. 


53 


BALLARD COLLECTION 



Ghiordes Prayer Rug, Seventeenth Century No. 28 



































OF ORIENTAL RUGS 


the koula group 

The rugs in this group come from Koula, in Asia Minor, situated in a northeasterly 
direction about one hundred miles from Smyrna. Though similar to the Ghiordes rugs 
in design, they differ in color scheme, a much more neutral tone prevailing throughout. 
In the prayer rugs a yellow tone predominates, but solid reds and blues are primarily 
used as ground colors in the niche. As a rule the arches are pitched, but are sometimes 
bulbous, and often triple in form. Simulated columns in the form of decorated bands 
support them. A special characteristic is the elongation of the spandrel down the sides 
and across the base of the niche, or downward into the band-like columns. Diaper pat¬ 
terns arranged diagonally on the field of the spandrel are prevalent. A frequent decora¬ 
tion of the niche is a long pendent triad of plain leaves on a central triple stem. There is 
generally a panel above the niche, decorated with a heavy reverse curve motif. The main 
border is, more often than not, made up of narrow stripes decorated with small flower 
motifs in an open arrangement. The “curl” motif is used in the secondary borders. The 
pile is medium short. There is an average count of seventy-five knots to the square inch. 


KOULA PRAYER RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 29 

Ghiordes knot, 7 2 to the sq. in.: Q vert.; 8 hor. [5 ft. 10 in. by 4 ft.~\ 

The field of the prayer niche is red, outlined in yellow, brown, red, and white 
lines which are zigzagged at the top and form a bulbous arch. From the crown 
of the arch is suspended a small floral form in yellow, blue, brown, and white. 
CThe spandrel is blue decorated with an attenuated plant scroll design in yel¬ 
low, with red and white flowers. The blue ground of the spandrel extends in a 
narrow stripe down the sides and across the base of the field. It is decorated 
with a reverse curve chain pattern in red. Above the spandrel is a narrow red 
panel upon which is a stylized running vine in white, outlined in brown, with 
flowers in blue, with red and yellow centres, and in yellow, with red and blue 
centres. The leaves are yellow, blue, “taupe,” and white. Enclosing the panel 
are two lines, one brown and the other white. CThe main border is blue, deco¬ 
rated with palmettes, alternating with a stiff spray made up of conventional¬ 
ized floral forms and a smaller palmette. A large palmette in red, yellow, blue, 
and white, alternates with one in white, red, and yellow. The smaller palmette 
is in yellow, red, and blue, and the floral forms are in red, yellow, and white. 
The entire design is outlined in buff and brown, and the guard lines are yellow. 
CThe inner and outer borders are yellow, decorated with a zigzag running line 
in white and with floral forms, alternating red and white. The guard stripes 
are red, with a small reverse curve motif in white. The inner stripe extends 


55 


BALLARD COLLECTION 



Koula Prayer Rug of the Sixteenth Century No. 2Q 










































OF ORIENTAL RUGS 



Koula Prayer Rug of the Seventeenth Century No. JO 























































































BALLARD COLLECTION 


across the field above the spandrel separating spandrel from the panel. A long 
silk fringe has been added at each end. C Formerly in the Holstein Collection. 

Ballard Collection, No. 32. 

Exhibited: The San Francisco Art Association, 1922; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


KOULA PRAYER RUG OF THE SEVENTEENTH CENTURY. 
[asia minor] No. 30 

Ghiordes knot, QQ-I20 to sq. in.: 11-1 2 vert.; Q-IO hor. [6 ft. 4 in - by 4 f*-~\ 

The niche of the rug is red and is decorated with an inverted mosque lamp and 
floral device suspended from the crown of the arch. The color scheme is blue, 
yellow, white, and green. There are two pendent bands simulating columns, 
which are decorated with a regular formal leaf, flower, and stem motif in red, 
yellow, green, blue, and “taupe,” outlined in brown, on a white ground. From 
the sides project leaf motifs, in the same color scheme; at the base is an inverted 
ewer, and at the top a foliated capital. The pitched arch is outlined in blue, 
white, and yellow, which extends down the sides and across the base in a saw¬ 
tooth pattern. CThe spandrel has a light blue ground and is decorated with an 
attenuated scroll in yellow and white. The spandrel extends down the sides 
and across the base of the niche in a narrow stripe of blue, flanked with yellow 
and decorated with a crossed reverse curve in red, yellow, white, and brown. 
The panel above the spandrel is decorated with a blue and white archaic form 
like the Chinese hydra; a bent leaf motif in yellow and white; and an interlac¬ 
ing pattern in yellow. The ground of the panel is brown. Surrounding it is a 
narrow stripe decorated with a crisscross pattern in white, red, yellow, blue, 
and brown. Separating the panel from the field, and surrounding both, is a 
border decorated with a close pattern of trefoils in red, yellow, blue, and white, 
outlined in brown. CThe main border is decorated with various detached flower 
sprays in red, yellow, and white, on a blue ground. The inner border is yellow 
and has single pink motifs outlined in red with the leaves in buff, on a yel¬ 
low ground. The guard stripes are decorated with a zigzag pattern in various 
colors on a red ground, flanked with white lines. The outer border is white, 
decorated with the “curl” pattern, in red, yellow, blue, and brown. The guard 
stripes of the outer border are identical with those 1$ the inner border, except 
that the ground of the outer stripe is brown. A rose-colored web extends 
beyond the pile. Ballard Collection, No. 33. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


58 


OF ORIENTAL RUGS 



mem 




mmm 

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iili 

mM 

■wmWp- 


fv&ip&ty-,: 


J*igy 

VA ' Vv. 

wrw’r? 

ffpIL 


fi 

m '6 


o>u; 


mwmll 

1 r l A. \ 

tel' 4 * 


Koula Prayer Rug of Seventeenth Century No.jl 










































BALLARD COLLECTION 


KOULA PRAYER RUG OF THE SEVENTEENTH CENTURY. 
[asia minor] No. 31 

Ghiordes knot, QQ-I08 to the sq. in.: 11-12 vert.; Q hor. [6 ft. by 4 //.] 

The red field of this rug is divided into three parts by two double columns, 
which support the triple arch. The columns are yellow with green lines flank¬ 
ing them, and on the face of each column, projecting inward, are small three- 
petaled flower motifs in yellow and two tones of blue. The capitals and bases 
are identical, with simple cusps. The central arch is outlined in blue, brown, 
white, and yellow wavy lines. Down the sides of the niche and across the bot¬ 
tom is a sawtooth pattern in the same colors as the outline of the arch. CThe 
spandrel is decorated with a yellow flower, or serrated leaf motif, with blue 
stem, outlined in red and arranged in rows, on a light blue ground. CEThe panel 
above the spandrel has a brown ground, and the area is filled with single joined 
flower motifs in yellow and two tones of blue. A second panel, below the niche, 
also has a brown ground. It is decorated with a honeycomb pattern in yellow, 
enclosing a trefoil in yellow and white. Surrounding these panels and also the 
entire niche is a yellow stripe, flanked with white and decorated with a stag¬ 
gered arrangement of blue spots. CThe main border is decorated with a rect¬ 
angular unit design, made up of conventionalized lilies and pinks, and a 
central plant motif, in varying color schemes of red and yellow and two tones 
of blue, on the creamy white ground of the border. CThe inner border has a 
single pink and leaf motif in red and yellow in a close design, on a blue ground. 
It is flanked with white lines and with guard stripes of red crossed by a zigzag 
line in yellow. On the outer edges are brown lines. CThe outer border and 
guard stripes are identical with the inner ones except that the guard lines of 
the border are yellow instead of white. The guard stripes are each flanked with 
brown lines. The design of the border changes to a branch pattern at the lower 
end of the rug, and the ground of the outer guard stripe changes to yellow. 
([An interesting diversion are the plain yellow corners of the inner guard 
stripe at the lower end of the rug. There is no web at the ends. A short fringe 
begins at the edge of the outer guard line. Ballard Collection, No. 34. 

Illustrated: An Exhibition of Oriental Rugs, Carnegie Institute, 1923. 

Exhibited: Pennsylvania Museum, Philadelphia, /pip; The Cleveland Museum of Art , 
1919; Metropolitan Museum, New York, 1921; The Minneapolis Institute of Arts, 1922; 
Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 1924 


60 


OF ORIENTAL RUGS 







<7t T> *.*''*, 


- > *. ; - 


j - ■■" -■-* 




Koula Pray er Rug, Seventeenth Century No. 32 











































































BALLARD COLLECTION 


KOULA PRAYER RUG OF THE SEVENTEENTH CENTURY. 
[ASIA MINOR] NO. 32 

Ghiordes knot, 63 to the sq. in.: Q vert.; J hor. [6 ft. 3 in. by 3 ft- 1 ° *w-] 

The red niche of this rug supports a long elaborate pendant hanging from the 
peak of the arch. It is made up of three solid leaf-like motifs in yellow, inter¬ 
spersed with delicate blue and white flower-like forms. At the bottom it termi¬ 
nates in three conventionalized motifs resembling pomegranates. Across the 
bottom of the niche and up the sides and along the flanks of the arch are pro¬ 
jected single small pink sprays in yellow and blue, outlined in brown. The 
yellow, brown, and white lines of the arch extend down the sides and across the 
base of the niche in a widened border, in the centre of which is a zigzag motif 
in brown and white. CThe spandrel has a blue ground decorated with a diaper 
pattern in dark red and yellow, with outlines in brown. The spandrel extends 
down the sides and across the base with a single row of the diaper motif. The 
panel above the spandrel is decorated with a row of large reverse curve motifs; 
the central one is yellow, and on each side is a blue one. The ground of the 
spandrel is white, and surrounding it is a narrow border of the same ground, 
with small indefinite units in yellow outlined in red. CThe main border is 
made up of five narrow stripes, three with white grounds and two with brown 
grounds, all of them decorated with small floral motifs in red and brown, 
brown and yellow, yellow and blue, or yellow and white, all widely spaced in 
single rows. The two outer guard lines are brown and the four inner guard 
lines are yellow. CThe inner border is made up of three yellow stripes, the 
inner one being somewhat lighter than the other two and flanked with a line of 
black and white spots. The decoration of this border is a small flower motif 
similar to that of the main border. The outer guard lines are brown. CThe 
outer border is identical with the inner border. At the lower end of the rug the 
ground color of the inner and outer borders changes slightly. A short web and 
a short fringe appear at the ends. Ballard Collection, No. 35. 

Exhibited: Liberty’s, London; Pennsylvania Museum, Philadelphia, 1919; The Cleve¬ 
land Museum of Art, 1919; Carnegie Institute, Pittsburgh, 1923; The John Herron Art 
Institute, Indianapolis, 1924. 

KOULA PRAYER RUG OF THE SEVENTEENTH 

CENTURY, [asia minor] No. 33 

Ghiordes knot, 4Q-64 to sq. in.: J-8 vert.; J-8 hor. [ 4 ft. 4 in. by 3 ft. IO in.] 

The arched niche is defined by a border flanked with a white line and deco¬ 
rated with a remote suggestion of a running vine and flower design. The vine 


62 


OF ORIENTAL RUGS 



Koula Prayer Rug of the Seventeenth Century 


No. 33 








































BALLARD COLLECTION 


and flowers are in red outlined in yellow, on a green ground which changes 
to a darker green in the flanks of the arch. At the base of the niche this bor¬ 
der turns upward at right angles, leaving an open space. In this space is a 
mosque lamp suspended from the arch with an elaborate composite flower and 
leaf pattern in yellow, green, blue, brown, and white, completely covering the 
enclosed area of the niche. Following the outer line of the arch is a narrow 
red border, outlined with white spots, which widens and extends down the 
sides. It is decorated with oblique lines in yellow, green, dark blue, brown, 
and white, alternating with hooks in the same color. This is probably a modi¬ 
fied hyacinth motif. CThe spandrels of the rug are decorated with a much an- 
gularized floral spray, with thick stems, in red and white outlined in brown, on 
a yellow ground. Above the spandrel is a narrow brown panel with an inscrip¬ 
tion decoration in red and yellow. CThe main border has a white ground, and 
on it a large flower motif in red, outlined in blue or brown, or in blue outlined 
in red. Connected with it are three smaller flower motifs completing the unit 
of design. It is probable that the larger flower motif is the plane view of the 
smaller flower. The complete color scheme of the border is red, yellow, green, 
blue, and brown. One large green flower at the side and one in yellow at the 
top have been interpolated to break the regular sequence of the color scheme. 
CThe inner border has, on a dark blue ground, the so-called “curl” pattern in 
red, yellow, green, and brown. At one corner the ground changes to white, and 
at the ends the design changes to a wavy line in red. The guard stripes are red 
decorated with a battlemented running pattern in white. The design and the 
color of the ground change somewhat at the ends. CThere is an outer border on 
two sides only. It has a violet brown ground and is decorated with a “twisted 
ribbon” pattern in yellow and red. It is flanked by guard stripes like those of 
the inner border. There is a short fringe at each end. ([Rugs of this character, 
because they include the lily so often seen in Rhodian pottery, are referred to 
as Rhodian rugs. Ballard Collection, No. 36. 

Exhibited: Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pitts¬ 
burgh, 1923; The John Herron Art Institute, Indianapolis, 1924. 


KOULA RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] NO. 34 

Ghiordes knot, 8l-QQ to the sq. in.: 9-II vert.; Q hor. [/£? ft. 5 in. by /f ft.~\ 

The rose-red of the field of this runner is decorated with five medallions tak¬ 
ing the general form of palmettes. In the centre of each appears an elaborate 
palmette in two tones of red, green, blue, and white, on the blue ground of 


64 




OF ORIENTAL RUGS 



Koula Rug of the Seventeenth 
Century No. 34 




























BALLARD COLLECTION 


the medallion. Surrounding it are rather large pink motifs in red outlined 
in white. The outline of the medallion is white, which broadens at the sides 
and is decorated with a lozenge pattern in red. The remainder of the field 
is decorated with lanceolate leaves, rosettes, hyacinths, small palmettes, and 
lotus blooms. Long stems add to the decorative effect of the pattern. The 
color scheme of this decorative pattern is two tones of red, green, light blue, 
brown, and white, on the rose-red ground of the field. CThe main border 
is decorated with flower, leaf, stem, and palmette motifs in two tones of red, 
two tones of blue, and white outlined in two tones of red, on a yellow ground. 
The large red palmette, surrounded with leaves and flowers, alternates with a 
dark blue palmette, in regular sequence throughout the border. CAn inner 
border stripe is decorated with a conventionalized running vine in blue with 
a red flower motif in the undulations. The ground is dark red, and the stripe 
is flanked with guard lines made up of red and white spots. CThe outer border 
is red and is decorated with a zigzag pattern simulating a running vine, in the 
undulations of which are blue, green, and white flower motifs. The guard 
lines are the same as the inner ones. A red web extends beyond the pile, and 
there is a fringe of warp threads at each end of the rug. The flower motifs in 
this rug are those sometimes seen in Rhodian plates. Therefore, examples of 
this type are known as Rhodian rugs. Ballard Collection, No.37. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KOULA PRAYER RUG OF THE SEVENTEENTH CENTURY. 
[asia minor] No. 35 

Ghiordes knot, 72-80 to the sq. in.: Q-IO vert.; 8 hor. [6 ft. j* in. by 4 ft. 3 in.] 

The field of the triple-arched prayer niche is red. The central arch is stepped 
and is outlined with yellow, blue, white, and buff lines. Around the sides and 
base of the niche is a wide sawtooth pattern in white, black, light brown, yel¬ 
low, and buff. From the crown of the arch is suspended a composite decora¬ 
tion made up of an inverted ewer, flower forms, and three pomegranate-like 
motifs in yellow, buff, two tones of blue, and white. Across the base of the niche 
is a row of detached pinks in yellow, buff, and blue, outlined in brown. CThe 
spandrel is decorated with oblique rows of conventionalized flower forms, 
alternating red and yellow. The blue ground of the spandrel extends in two 
bands down the niche at right and left of the arch, in place of the usual col¬ 
umns. The decoration is a highly conventionalized floral motif in red and two 
tones of yellow, outlined in red and brown. The outlines of the arch are con- 


66 


OF ORIENTAL RUGS 



Koula Prayer Rug of Seventeenth Century 


No. 35 



















































































































BALLARD COLLECTION 


tinued to form the outlines of these bands, and projecting from them are large 
picots forming a yellow fringe. The panel above the spandrel has a row of 
large reverse curve motifs in red, yellow, and blue, on a violet ground. Sur¬ 
rounding it, and also enclosing the entire field, is a stripe decorated with a 
composite unit of a flower and two leaves in red, yellow, and blue, on a white 
ground. The design in its entirety is not wholly discernible. The stripe is 
flanked by brown lines. CThe main border is decorated with a rectangular 
unit of design, on a dark blue ground. The unit is composed of a lily, a pink, 
and a central plant motif, in varying combinations of red, three tones of yellow, 
and light blue. CThe inner border has a yellow ground and is made up of a 
“curl” pattern in red, light brown, buff, two tones of blue, and white. The 
inner guard stripe has a red ground, and is decorated with a wavy line in yel¬ 
low, blue, and white. CThe outer guard stripe has a white ground with the 
same design in red, yellow, brown, and blue. It has one guard line in red, and 
one in buff. CThe outer border is the same as the inner border. Both guard 
stripes have white grounds with a wavy line in red, yellow, and brown. Brown 
guard lines flank these stripes. CThere is a web and short fringe at each end. 

Ballard Collection, No. 38. 

Exhibited: The San Francisco Art Association, 1923; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 

KOULA PRAYER RUG OF THE SEVENTEENTH 

CENTURY, [asia minor] No. 36 

Ghiordes knot, Q6-IO4 to sq. in.: 12-1J vert.; 8 hor. \_6 ft. Q in. by 4 ft. 2 inf] 

The main embellishment of the blue field is a long elaborate pendant sus¬ 
pended from the peak of the arch. It is made up of plain leaf-like areas in 
yellow joined to a central triple stem with alternating red and yellow leaf 
forms and pairs of minute leaves placed between them. The pendant termi¬ 
nates in a triad of what seem to be pomegranate forms. The arch is formed by 
a narrow yellow stripe flanked by brown lines and decorated with small indis¬ 
tinct motifs. On the inner edge is a white line. The lines continue down the 
sides of the niche, and across the base is a band of zigzag lines in red, buff, 
brown, and white. At the outer edge of this band is a brown line. Projecting 
inward from the band is a row of flower and leaf sprays in two tones of yellow. 
CThe spandrel is decorated with an allover pattern of flower and leaf units in 
buff and yellow, on a light blue ground. The blue of the spandrel extends 
down the sides of the niche and across the base, with a single line of these same 
flower motifs in the same color scheme. CThe panel above the niche has a brown 
ground and on it are large single conventionalized flowers in two tones of yel- 


68 


OF ORIENTAL RUGS 



Koula Prayer Rug of 


the Seventeenth 


Century No. j6 






























































































BALLARD COLLECTION 


low, two tones of blue, and red. Below the niche is a second panel, also with 
a brown ground, decorated with a rectangularized flower spray in two tones of 
yellow, red, and light blue. Surrounding both panels and enclosing the entire 
field is a border with a leaf and flower motif in red, two tones of yellow, 
“taupe,” light blue, and brown. It is guarded by dark brown lines. ([The main 
border is made up of six narrow stripes alternating black and white. They are 
decorated with small flower motifs in blue and yellow, yellow, blue and brown, 
red and brown, and yellow and brown, evenly spaced at moderate intervals. 
The guard lines are red. ([The inner border is a yellow stripe decorated with an 
indistinct flower spray motif in red and blue and delicate tones that blend with 
the yellow of the ground, so that the complete pattern is indiscernible. It is 
guarded by light blue lines. The guard stripe on the inner side is decorated 
with a reverse curve motif in various colors on a red ground. The guard stripe 
on the outer edge of the main border is decorated with a wavy line in various 
colors on a brown ground. ([The outer border is decorated with the “curl” pat¬ 
tern in red, light blue, black, yellow, and “taupe.” It is guarded by light blue 
lines. On the extreme outer edge of this border is a guard stripe of brown, 
decorated with a wavy line in red, yellow, blue, and white. There is a fringe 
at each end. Ballard Collection, No. 39. 

Exhibited: The Minneapolis Institute of Art, 1922; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


KOULA PRAYER RUG OF THE SEVENTEENTH 

CENTURY, [asia minor] No. 37 

Ghiordes knot, J2 to the sq. in.: Q vert.; 8 hor. [5 ft. II in. by 4 //.] 

In the centre of the rug is a blue niche, with a pitched arch, from which hangs 
a composite floral motif simulating a mosque lamp. It is made up of yellow 
pinks, outlined in red, showing top and side views; three yellow forms that 
resemble the pomegranate, at the ends of blue stems; and blue and yellow 
sprays. The stepped arch is outlined in yellow, brown, and white, and down 
the sides and across the base is a sawtooth border in the same colors. A flower 
form projects from the sides of the niche and flanks of the arch in light blue 
and two tones of yellow. ([The spandrel is decorated with a pear-shaped form 
in yellow with alternating blue and yellow bases. The blue ground of the 
spandrel extends down the sides of the niche and across the base and is deco¬ 
rated with a single row of unidentified motifs in red, two tones of yellow, green, 
dark blue, and brown. The panel above the spandrel is decorated with a honey¬ 
comb pattern defined by white lines, outlined in yellow, enclosing an indis¬ 
cernible design in two tones of brown. It is surrounded with a stripe of a 


70 


OF ORIENTAL RUGS 

















BALLARD COLLECTION 


running vine in blue outlined in brown, on a yellow ground. This same stripe 
includes the entire field but changes at the upper end to a darker ground deco¬ 
rated with an indistinct motif. GThe main border is made up of five narrow 
stripes alternating blue and yellow and decorated with small square units, 
every other one of which is decorated with a barred motif. GThe inner border 
is decorated with a reverse curve motif alternating with a floral form. The 
color scheme is three tones of yellow, blue, and brown on a green ground. It is 
guarded by white lines. There is only one guard stripe at the outer edge of this 
border, decorated with an indistinguishable motif in two tones of yellow, on a 
deep yellow ground. GThe design of the outer border is identical with that of 
the main border, but the ground is blue guarded by yellow stripes. The design, 
because of repair, has been interrupted at both ends. There is a long vari¬ 
colored silk fringe at each end. Ballard Collection, No. 40. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KOULA PRAYER RUG OF THE SEVENTEENTH 

CENTURY, [asia minor] No. 38 

Ghiordes knot, 49-64 to sq. in.: J -8 vert.; 7-8 hor. [5 ft. I in. by 4 ft. I inT\ 

The deep blue field of this rug is decorated through the centre with a long 
elaborate pendant which probably was, in the mind of the weaver, an idealized 
mosque lamp. It is made up of three ovals in two tones of yellow, placed in 
parallel rows and connected with a triple stem through the centre. The lower 
end of this motif terminates in three highly conventionalized plant forms, 
perhaps pomegranates. They have the same color scheme as the pendant with 
the addition of blue, white, and brown. Yellow, buff, white, and brown lines 
in a zigzag pattern form the flank of the arch. These lines are continued to 
form the outline of two bands which have supplanted the columns usually 
supporting the arch. From the outer edge of the bands small flowers in yellow 
project into the blue field. A narrow niche and arch appear at right and left. 
Across the base and up the sides are yellow picots tipped with white. The 
bands are decorated with a row of unidentified angular motifs in red and yel¬ 
low on a light blue ground which extends upward into the spandrel. GThe 
spandrel is decorated with a flower and leaf motif in red and two tones of 
yellow arranged in oblique rows. The panel above the spandrel has an allover 
lozenge pattern in two tones of yellow and brown. Separating the panel from 
the spandrel, and enclosing it and the entire field, is a yellow border flanked 
with brown lines. It is decorated with an irregular reverse curve in red, yel¬ 
low, light blue, and brown. GThe main border is made up of six narrow stripes 


72 


OF ORIENTAL RUGS 



Hi 










1 * ■ Vi 


Koula Prayer Rug of the Eighteenth Century No. JQ 



























































































































BALLARD COLLECTION 


KOULA PRAYER RUG OF THE SEVENTEENTH 
CENTURY. [ASIA MINOR] 

Ghiordes knot, 63-70 to the sq. in.: Q-IO vert.; 7 hor. 


No. 40 
[6 ft. by 4 ft.} 


The field has a triple niche with a blue ground, and a pendent floral device 
suspended from the arch, composed of flower forms in yellow, outlined in red, 
projecting from a central stem of lozenge forms in yellow and white, outlined 
in red and brown. The pendant terminates in three formal flower forms. The 
flanks of the arch are defined by yellow, white, and brown lines which are con¬ 
tinued to form outlines of pendent bands simulating the column supports of 
the triple arch. Projecting from the sides of these bands are forms in red, two 
tones of yellow, and blue. At the sides of the niche is a wide yellow picoted 
band with a zigzag pattern defined in brown. ([The spandrel is decorated with 
an allover pattern of flower forms, like pinks, arranged in oblique lines accord¬ 
ing to their colors. The sequence is polychrome, brown, yellow, and light blue. 
The dark blue ground shows between the flower forms in horizontal and ver¬ 
tical lines, giving the effect of a squared background. The blue ground of the 
spandrel extends down into the bands which take the place of columns to sup¬ 
port the arch, with the same flower motif forming a single row in red, two 
tones of yellow, and blue. ([The panel above the spandrel is decorated with a 
large reverse curve motif alternating blue and yellow on a brown ground. A 
narrow white stripe decorated with small reverse curves in red, yellow, blue, 
and brown surrounds the panel and extends down the sides and across the bot¬ 
tom of the field. This design changes at the lower end to a flower motif with 
crossed stems. ([The main border has the decoration divided into rectangular 
units. In these units is an intricate floral convention with variations of red, 
two tones of yellow, buff, light blue, and brown on a white ground. Brown 
guard lines flank the border. ([The inner border is divided by a line into a buff 
and a yellow stripe. The design is indiscernible, only the brown and white 
parts being visible. This design changes at the lower end to a “curl” motif, 
introducing red, brown, and blue. This “curl” motif simulates the form of the 
archaic dragon design often seen on ancient Chinese bronze and jade. ([The 
outer border is identical with the inner border on the sides of the rug and 
across one end. At the lower end the outer border has been replaced by a strip 
of Italian brocade and there is a long fringe at each end. This rug was prob¬ 
ably formerly in the possession of an Italian collector whose loving care thus 
added to its long life and preservation. Ballard Collection, No.43. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


76 


OF ORIENTAL RUGS 



3 i~>~ <f i 

' 

] 


*»*&• 

«W «#•» 

Vjff 

”«fe* “tffc** 
Tl» V IF 


■&&** xm 

SiKraiiK 




Koula Prayer Rug of the Seventeenth Century No. 40 








































BALLARD COLLECTION 


KOULA PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 41 

Ghiordes knot, 48-63 to sq. in.: 8-Q vert.; 6-7 hor. [5 ft. Q in. by 3 ft. 5 *«.] 

The blue field is decorated with an open allover pattern of a vase and flower 
motif in yellow, blue, and brown. The niche is outlined with yellow, buff, and 
brown lines which form a zigzag pattern along the flanks of the arch. CThe 
spandrel has a light blue ground and is decorated with oblique rows of a small 
unknown form in brown and yellow. The blue of the spandrel continues down 
the sides and across the base of the field, decorated with a single row of the 
spandrel motif. It is flanked with a brown line. CThe main border is made up 
of five stripes, two in blue and one in yellow. They are decorated with a small 
flower motif in two tones of yellow, blue, and brown, and are flanked with 
either brown, yellow, or light blue lines. CThe inner border is yellow, but 
divided into three stripes. The middle stripe is decorated with the same motif 
that appears in the spandrel. The two flanking stripes are decorated with the 
same motif that appears in the main border. CThe outer border also has a 
ground in two tones of yellow, separated by a brown and white spotted line; 
the outer half is decorated with the same motif as the spandrel, and the inner 
half with the same motif as the border. A short fringe shows at both ends. 

Ballard Collection, No. 44. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KOULA PRAYER RUG OF THE EIGHTEENTH 

CENTURY, [asia minor] No. 42 

Ghiordes knot, 4 Q ~^4 1 ° sc t• 7 ~$ vert.; 7-8 hor. [5 ft. Q in. by 3 ft. IO in.~\ 

The background of the triple arch is blue, and down the centre is a typical 
pendent motif made up of three plain leaf-like areas in regular rows, emanat¬ 
ing from a triple stem. At the lower end are three conventionalized flower 
forms and at the upper end is a square terminal in yellow outlined in reddish 
brown. The arch is defined by a scallop in white, outlined in brown and yel¬ 
low, which extends down the niche and forms the outline of two bands which 
simulate two columns, supporting the triple arch. From the sides of these 
bands and from the flanks of the arch project indefinite flower forms in yellow 
and light blue. CThe spandrel is decorated with a diaper pattern of a three- 
lobed leaf in yellow outlined in brown. The stems are blue, and motifs are 
placed diagonally on the field. The yellow of the ground of the spandrel 


78 


OF ORIENTAL RUGS 



Koula Prayer Rug of the Eighteenth Century No. 41 


























BALLARD COLLECTION 



Koula Prayer Rug of Eighteenth Century 


No. 42 














































































OF ORIENTAL RUGS 


extends down the sides of the niche and across the base in a sawtooth pattern. 
A reddish brown line surrounds the spandrel and the niche. CThe panel above 
the spandrel is decorated with rows of a small unidentified motif in yellow and 
light blue, on a dark brown ground. Separating the panel from the spandrel 
is a narrow border of blue decorated with a crossed reverse curve motif in red, 
yellow, and dark blue. The blue ground of this narrow stripe continues around 
the field but the decoration changes to an angulated vine pattern in yellow, 
outlined in reddish brown, and small leaf or flower forms in brown and white. 
CThe main border is made up of seven narrow stripes, three white and four 
brown, all evenly decorated with a small yellow flower form, placed at regular 
intervals. CThe inner border has a yellow ground with “curl” motifs in red¬ 
dish brown, yellow, light blue, and dark brown. On the inner side of this 
border is a narrow dark brown stripe with a small yellow flower form. CThe 
outer border is yellow, guarded by light blue lines and decorated with an 
unidentified form in red, yellow, buff, blue, and green, in an irregular color 
sequence. On the outer edge of the rug is a narrow stripe, with a brown ground, 
decorated with the same small flower motif used in the main border. A stripe 
of red velvet has been added at the ends, and also a silk fringe. 

Ballard Collection, No. 45. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KOULA RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 43 

Ghiordes knot, 126 to the sq. in.: 14 vert.; Q hor. [6 ft. by 4 ft. 5 in.\ 

The niche is outlined by one blue and two yellow stripes, which at the upper 
and lower ends form, in a zigzag pattern, two flattened arches from the flanks 
of which pinks in yellow and red project into the mauve-colored field. 
Through the centre of the field is an interesting pictorial decoration which 
forms a repeat pattern down the length of the field. It is made up of a central 
tree form with a tomb and another tree form at each side, together with a 
smaller architectural unit. The color scheme is red, yellow, blue, brown, and 
white. CThe usual spandrel occurs at both ends of the field, connected by a 
strip extending down the sides. The spandrel is decorated with a very highly 
conventionalized flower form in yellow with the centre now and then brought 
into prominence by a brown outline. CA panel at the top of the rug has a 
brown ground and is decorated with a row of single floral motifs in yellow and 
blue. A lower panel also has a brown ground and is decorated with a row of 
single flower motifs in yellow, blue, and white, placed diagonally. The upper 

81 


BALLARD COLLECTION 



Koula Rug of the Eighteenth Century No. 43 
















































OF ORIENTAL RUGS 


and lower panels are separated from the spandrel by a yellow stripe which is 
decorated with a running vine and flower design in red, two tones of blue, 
brown, mauve, and white. A continuation of this stripe surrounds the entire 
field. Also surrounding the field is an extra stripe, decorated with a running 
vine in two tones of blue, with red and yellow leaves or flowers, on a buff 
ground. CThe main border is made up of rectangular units including conven¬ 
tionalized flower forms in various colors. Red, two tones of yellow, two tones 
of blue, mauve, and brown reoccur in irregular sequence, on a white ground. 
Two guard stripes, one with a red groiind, and the other with a brown ground, 
guard the border. They are decorated with a wavy line in a varied color 
scheme in two tones of yellow, blue, and white. CThe decoration of the inner 
border is faintly discernible. It appears to be a flower form within a hexagon, 
in two tones of yellow and blue interspersed with white. CThe outer border is 
yellow and a “curl” pattern in red, yellow, blue, and white is evenly spaced 
over the surface. Light blue guard lines flank the border, a part of which is 
missing at each end. Because of the decoration in the niche, which includes a 
pictorial representation of a tomb, these rugs are often referred to as tomb or 
Cemetery rugs. Ballard Collection, No. 46. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; The Minneapolis Institute of 
Arts, 1922; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE BERGAMA GROUP 

The eight rugs in this group come from Bergama, the ancient city of Pergamum, in Asia 
Minor, about one hundred miles northeast of Smyrna. The greater number of the rugs 
falling under this head have distinct characteristics which entitle them to special notice. 
They have a field, pointed at each end, decorated with either a suspended mosque lamp or 
a vase form, invariably associated with arabesques; spandrels decorated with either large 
conventionalised flower and leaf forms or arabesques; borders consistently planned, with 
alternating cartouches and tile forms; and, more often than not, plain reciprocating 
trefoil designs, in two colors, in the secondary borders. Red may predominate in these 
rugs in rather pure color, or yellow may predominate in a greyed tone. Another sub¬ 
division is represented by rugs nearly square in shape and decorated with highly conven¬ 
tionalised leaf and palmette motifs reminiscent of archaic styles. The Ghiordes knot is 
universally used, and the pile is of medium length. It would seem that there are few 
large rugs in the Bergama group. Sometimes conventionalised flower forms suggest 
realism, but one finds that the motifs always retain their conventionalised significance. 

83 


BALLARD COLLECTION 



Bergama Rug of the Seventeenth Century 


No. 44 












































































OF ORIENTAL RUGS 


BERGAMA RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] No. 44 

Ghiordes knot, 63-JO to the sq. in.: Q-IO vert.; J hor. \_8 ft. I in. by 3 ft- 4 in-\ 

The rose-red field is pointed to form a niche at each end. It is decorated in the 
centre with a yellow medallion, outlined in blue, to which are attached six 
pendent lamp-like forms of elaborate design, in red, yellow, two tones of green, 
blue, violet, brown, and white. Small pendent forms are also attached to the 
outer edge of the medallion. In the centre of the medallion is a lozenge out¬ 
lined by a green border. Radiating from the four points of the lozenge are 
four palmette-like forms in red, green, violet, brown, and white. In each of 
the four corners of the field is a quadrant of a lozenge-shaped medallion in 
blue, decorated with rosettes, serrated leaf forms, and small floral forms in red, 
yellow, green, violet, and white. These quadrants are outlined in white and 
form the flanks of a stepped arch at each end of the field. From each step of 
the arch a white floral form, outlined in brown, projects into the red field, and 
from the sides of the field are projected floral and leaf motifs in yellow, two 
tones of green, blue, violet, and white. ([The main border is yellow, decorated 
with a series of joined cartouches in red, green, and violet, in regular sequence. 
Each cartouche is decorated with a lozenge, which has elaborated points and 
a flower form in the middle. Outside the lozenge are other flower forms. 
Between the cartouches, on the yellow ground, are crossed stems with floral 
terminals in green, light blue, or violet. CThe inner border and the outer 
border are identical. They are decorated with a continuous conventionalized 
vine, flower, and leaf design, with the vine and leaf in white, outlined in red, 
and the flowers in red, blue, and green. The ground is brown, and the guard 
stripes are made up of a reciprocal tooth pattern in red and white. Brown lines 
flank them. ([There is a red web at each end of the rug. This type of rug is 
sometimes classed as Bergama but is made in Makri, many miles from Ber- 
gama. Formerly in the Holstein Collection. Ballard Collection, No. 47. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


BERGAMA RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] NO. 45 

Ghiordes knot, 60-88 to the sq. in.: IO-II vert.; 6-8 hor. [6 ft. I in. by 4 ft.] 

The rug is made up of seven complete octagonal medallions and parts of others, 
separated by a “twisted-ribbon” band in light blue, decorated with an attenu- 


'5 


BALLARD COLLECTION 



Bergama Rug of the Seventeenth Century 


No. 45 




































OF ORIENTAL RUGS 


ated reverse curve, in brown. Joining each is a square, made up of decorated 
panels in various colors. All the medallions have the same design, a curious 
bold motif, resembling a conventionalized insect or animal form. No two have 
the same color scheme. There are three tones of red, green, blue, brown, and 
white, all in pastel tones. CAn outer border surrounds the rug. It is made up 
of a running branched pattern in red, outlined in brown, on a yellow ground. 
CThe pile is long, giving to the wool a silky sheen. The rug is thick, but com¬ 
paratively light for its size. Previous ascriptions assign this rug to Bergama 
but it seems more particularly Kazak. Ballard Collection, No.48. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
I 9 I 9 > Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
I 9 2 3 I The John Herron Art Institute, Indianapolis, 1924. 


BERGAMA PRAYER RUG OF THE EIGHTEENTH 
CENTURY, [asia minor] No. 46 

Ghiordes knot, QO to the sq. in.: 10 vert.; (J hor. [5 ft. 4 in. by 4 ft. 3 in.] 

The rose-colored field is pointed at each end and is decorated with an allover 
pattern of floral arabesques; a vase form at each end; and at each side a rect¬ 
angular strip of conventionalized flowers. The arabesques are in various full 
color combinations, with the exception of orange, which seems to be univer¬ 
sally missing in rugs of the Near East. The vase forms are blue decorated with 
red and white cloud-like forms. Each of the four corners of the rug is filled 
with a quadrant of a medallion, outlined in red, brown, and white, simulating 
in its outlines the flank of a stepped arch. The design of the quadrant is com¬ 
posed of a conventionalized rosette and lanceolate leaves with smaller flower 
motifs in two tones of red, yellow, green, blue, brown, and white, on a dark 
blue ground. The motifs are outlined either in brown or white. From one side 
of each quadrant a row of small flower forms in various color combinations 
projects inward. CThe main border is yellow and has a heavy running vine in 
a brownish red. In the undulations of this vine are alternating pinks and roses. 
Associated with the pink is the lily, and the color scheme is two tones of red, 
two tones of blue, brown, and white. Associated with the rose is also the lily, 
in a slightly different form, and the color scheme is two tones of red, blue, 
white, and brown. CThe inner border is made up of a curiously formed flower 
motif in two tones of red, yellow, green, and white, on a blue ground, flanked 
by guard lines in two tones of red and white. CThe outer border has the same 
design as the inner border and the same color scheme, with the exception of the 
ground, which is dark red. The guard stripes have a close pattern of red and 

87 


BALLARD COLLECTION 



Bergama Rug of the Eighteenth Century 


No. /]0 

























































OF ORIENTAL RUGS 



Bergama Rug of the Seventeenth Century 


No. 47 





























BALLARD COLLECTION 


white spots, and are flanked with dark red lines. CA yellow silk fringe has 
been added at the ends and extends partly down the sides. 

Ballard Collection, No. 49. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

BERGAMA RUG OF THE SEVENTEENTH CENTURY. 

[asia minor] No. 47 

Ghiordes knot, 108-126 to sq. in.: 12-14 vert.; Q hor. [5 ft. 5 by 4 ft. 6 in.] 

The field, which is nearly square, is decorated all over with highly convention¬ 
alized forms. The centre one is undoubtedly a palmette form, while the two 
end ones are also palmettes,on blue lozenges, flanked by two large conventional¬ 
ized leaves. Large leaves of this sort lead one to think that the “dragon” motif 
in the so-called dragon rugs might be an exaggerated convention of a large 
leaf form. At the two sides of the field are detached lanceolate leaves, and 
interspersed are small individual conventionalized forms. The color scheme is 
two tones of red, yellow, green, two tones of blue, violet, brown, and white, on 
a red ground. Red, brown, and white, in various combinations, have been used 
to outline the motifs. The main border is yellow and has a design of a central 
stem in brown from which spring pairs of flowers, one in two tones of red, 
outlined in brown, and the other in blue, outlined in violet. This design has 
the appearance of the “tree of life.” CThe inner border is decorated with a 
flower motif, probably the pink, in red, green, blue, and white, on a brown 
ground. The inner edge of this border is guarded by a white line, and the outer 
edge by red and white lines. CThe outer border is similar to the inner one. 
CA new tape protects the edges at the sides, and a red and blue web projects 
at each end of the rug. Ballard Collection, No. 50. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


BERGAMA HEARTH RUG OF THE SIXTEENTH 
CENTURY, [asia minor] No. 48 

Ghiordes knot, IOO-132 to sq. in.: 10-12 vt.; IO-II hr. [5 ft. jin. by 4 ft. I in.] 

The red field is pointed at each end and is decorated with an allover design 
which includes floral arabesques and vase forms. The arabesques are red, yel¬ 
low, green, two tones of blue, violet, and white, outlined in white and brown. 
The vase forms are yellow decorated in two tones of red, blue, and white, out¬ 
lined in red and brown. Each of the four corners is filled with the quarter of 


90 


OF ORIENTAL RUGS 



a gate 




a i..L' * 


—f i ii r ii I, ~ 






Koula Prayer Rug of the Seventeenth Century No. j8 





























































































BALLARD COLLECTION 


alternating brown and white. Small flower and leaf forms in yellow, and in 
red and yellow, are arranged in rows, evenly spaced on the ground. CThe inner 
border has a “curl” pattern in red, yellow, light blue, brown, and white, on a 
yellow ground. Red guard stripes flank this border. The decoration seems to 
be an irregular reverse curve motif. The stripes are flanked with brown lines. 
CThe outer border is a continuous leaf pattern in red, two tones of yellow, 
blue, and white, outlined in brown. It is flanked with blue lines. An extra bor¬ 
der stripe extends down both sides at the outer edge and has, on a brown 
ground, the same motif as the main border. A brown silk fringe and a brocade 
border have been added at each end. Ballard Collection, No.41. 

Exhibited: Metropolitan Museum of Art, New York, 1921; San Francisco Art Asso¬ 
ciation, 1922; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, 
Indianapolis, 1924. 


KOULA PRAYER RUG OF THE EIGHTEENTH 

CENTURY, [asia minor] No. 39 

Ghiordes knot, J 2 to the sq. in.: Q vert.; 8 hor. [5 ft. 8 in. by J ft. 10 in.~\ 

The prayer niche has a blue ground and an allover pattern of an unidentified 
geometric motif in two tones of yellow. The niche and the arch are outlined 
in two tones of yellow and brown. CThe spandrel is light blue decorated with 
an allover floral pattern in yellow, blue, and brown. CThe panel above the 
spandrel has a brown ground and a single row of conventionalized flowers in 
two tones of yellow and two tones of blue. Surrounding the panel and also the 
entire field is a stripe decorated with a running vine in yellow with small blue 
and yellow flowers, outlined in brown, staggered on a white ground. The 
stripe is flanked with a brown line. On the outer edge of this stripe is an extra, 
narrow stripe with a yellow ground and an irregular reverse curve decoration 
in yellow, blue, white, and brown. CThe main border is composed of seven 
narrow stripes alternating blue and yellow. The blue stripe is decorated with a 
brown and yellow flower motif alternately placed, and the yellow stripe with 
the same flower motifs in two tones of yellow. CThere is an inner border 
with a green ground, decorated with a “curl” pattern in two tones of yellow, 
blue, and white. The green ground changes to yellow at the upper end. It has 
a white guard line on one side and a white and brown one on the other. CThe 
outer border is the same as the inner border but has a brown ground. CThere 
is a narrow web and fringe at each end. Ballard Collection, No.42. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


74 


OF ORIENTAL RUGS 



Bergama Hearth Rug of Sixteenth Century No. 48 












BALLARD COLLECTION 


a blue medallion on which is a large conventionalized rosette with lanceolate 
leaves in red and yellow, outlined in brown. CThe main border has a typical 
pattern of cartouches and tiles, alternating, and joined one with the other. The 
cartouches are white, outlined in red, brown, and white, and decorated with a 
palmette-like arabesque in red, yellow, green, and blue, outlined in brown. 
The tiles have a geometric decoration in varying color combinations of red 
and blue, on a yellow ground, or of blue and yellow, on a red ground. The 
intermediate parts of the border are yellow, decorated with a conventionalized 
flower and leaf motif in red, flecked with brown and white. CThe inner border 
is a reciprocal trefoil pattern in red and brown, outlined in white. It is guarded 
with a white and brown line on the outer edge, and a white line on the inner 
edge. ([Around the entire field is a narrow red stripe decorated with detached 
small squares in yellow, green, blue, and brown, flanked with yellow and red 
guard stripes. An inner white line extends around the field. CThe outer 
border is decorated with a reciprocal trefoil pattern similar to that of the 
inner border, in red and brown, outlined in white. An extra red stripe extends 
around the outer edge of the rug. It is decorated with a link pattern in white 
and brown, on a red ground. CThere is a yellow-green fringe at each end and 
new Selvedges at the sides. Ballard Collection, No. 51. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

BERGAMA PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 49 

Ghiordes knot, 132 to the sq. in.: 12 vert.; II hor. [4 ft. 8 in. by 3 ft. IO in.~\ 

The yellow field of the prayer niche is outlined in brown, white, and yellow, 
and is decorated with floral arabesques in red, yellow, green, two tones of blue, 
brown, and white. From the crown of the arch is suspended a mosque lamp in 
blue and red. The spandrel is decorated with red arabesques outlined in white 
on a brown ground. The brown, as usual, has disintegrated. CThe main bor¬ 
der has alternating red and white cartouches decorated with palmette ara¬ 
besques in red, yellow, green, blue, and brown. These cartouches connect with 
eight-pointed tile forms in blue, decorated with geometric forms in buff, and 
outlined in white. The yellow ground in the interstices between the cartouches 
and the tiles is decorated with a leaf and flower motif in red and white. White 
and brown guard lines flank the border. The continuity of the design is broken 
at the corners due to the fact that no corner motif was planned. CThe inner 
border has a reciprocal trefoil pattern in red and brown, outlined in white. It 
is flanked by white lines. At the inner edge of this border is a narrow blue 
stripe decorated with a chain pattern in buff and outlined with red. CThe 


92 


OF ORIENTAL RUGS 



Bergama Prayer Rug of the Seventeenth Century No. 



































BALLARD COLLECTION 


outer border is a repeat of the inner border. On the outer edge the chain pat¬ 
tern appears again, in white on a red ground, outlined on the inner side with 
yellow and red, and on the outer side with brown and white. CThe warp 
extends a short distance beyond the pile. Ballard Collection, No. 52. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

BERGAMA PRAYER RUG OF THE SEVENTEENTH 
CENTURY, [asia minor] No. 50 

Ghiordes knot, QO to the sq. in.: IO vert.; Q hor. [5 ft. J in. by J ft. IO in.~\ 

The red ground of the field is decorated with a dark blue lozenge, upon which 
is a tile form divided into four parts, outlined in brown and white. In each of 
the four parts is the so-called “scorpion” design, in yellow, on a red ground. 
The blue lozenge is further decorated with highly conventionalized lilies in 
white, outlined in red; a palmette form in red and yellow; and eight-pointed 
flower forms in red and white. It is bordered by conventionalized lilies in red, 
yellow, and white, outlined in brown, with plane and profile views alternating 
to form a continuous pattern. In the four corners of the red field are quadrants 
of medallions, outlined in blue, brown, white, and red, joined to form an arch 
at each end of the field. The blue of the outline continues down the sides of the 
field. The quadrants are decorated with conventionalized lanceolate leaves, 
rosettes, and lilies in red, yellow, blue, brown, and white, outlined in brown, on 
a yellow field. CThe main border is decorated with the typical Bergama car¬ 
touche and tile design. The cartouches are white, outlined in red, brown, and 
white, decorated with an arabesque-like form in red, with rosette centre in red, 
yellow, blue, brown, and white, and six conventionalized circular flower forms 
in red, yellow, and blue, with white centres. The tiles are eight-pointed, out¬ 
lined with red, brown, and white, with alternating fields of blue and yellow 
decorated with a geometric form in two tones of red, yellow, and white, out¬ 
lined in brown. The spaces between the cartouches and the tiles are filled with 
conventionalized leaf and flower forms in yellow and blue, outlined in brown. 
CThe inner border is white outlined with red and brown, decorated with star 
forms in yellow and blue within alternating red and brown octagonal forms. 
Between the octagonal forms are six small brown squares in groups of three. 
Red and brown lines flank this border. CThe outer border is the same as the 
inner border. C At each end the yellow weft is visible. There is a new selvedge 
on each side of the rug. Ballard Collection, No. 53. 

Illustrated: Special Loan Exhibition, Carnegie Institute, 1923. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


94 


OF ORIENTAL RUGS 



Bergama Rug of the Seventeenth 
Century No. 5 O 
















BALLARD COLLECTION 



Bergama Prayer Rug of the Sixteenth Century 


No. SI 






















































OF ORIENTAL RUGS 


BERGAMA RUG OF THE SIXTEENTH 

CENTURY, [asia minor] No. 51 

Ghiordes knot, QQ to the sq. in.: II vert.; Q hor. [5 ft. ff in. by 4 ft. I in .] 

The field has a yellow ground on which is an allover pattern of a floral ara¬ 
besque in red, yellow, two tones of green, blue, brown, and white, outlined in 
brown. Across the centre are three cloud-like forms in white, outlined in brown. 
Two vase forms, one in red and green and the other in red, yellow, green and 
white, appear in the field. From each vase spring two small plant forms in 
brown. The field is outlined with red, white, and brown, and at each of the 
four corners of the field is the quadrant of a blue medallion, decorated with 
arabesques in red, outlined with white. CThe main border, composed of a 
cartouche alternating with a tile form, is typical. The cartouche has a white 
ground outlined with red, brown, and white, and is decorated with a palmette 
arabesque in red, yellow, and blue, outlined in brown. The tiles are yellow or 
blue, outlined in brown and white, and decorated with a geometric tile motif 
in blue or yellow with accents of red, brown, and white. Between the cartouche 
and the tile is a conventionalized leaf and flower motif in red and white, on a 
yellow ground. CThe inner border is made up of a reciprocal pattern with a 
trefoil in red and brown, outlined in white. It is flanked by white and brown 
guard lines. A narrow yellow border surrounds the field, and is decorated with 
a chain pattern in red and white, on a yellow ground, except at one end where 
the ground changes to a dark green. It is flanked by red guard lines. An extra 
white line surrounds the entire field. CThe outer border is identical with the 
inner border. Surrounding the entire rug is another border, decorated with a 
chain pattern in yellow and brown, on a red ground. At its outer edge are 
white and brown guard lines. CThere is a short fringe at each end. 

Ballard Collection, No. 54. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE LADIK GROUP 

Ladik is the name given to a comparatively large group of Asia Minor rugs made in the 
vicinity of ancient Laodicea, whence they are supposed to have derived their name. They 
are mainly prayer rugs and comparatively small, the average size being about six feet by 
three feet eight inches. One of the noticeable characteristics is the long narrow effect of 
the field, which includes the arched prayer niche, the high spandrel, and the wide panel 
which sometimes occurs below the niche and sometimes above the spandrel. The predom¬ 
inating colors are red, yellow, and blue, often occurring in massed areas. All the colors, 


97 


BALLARD COLLECTION 


however, except orange, are present to some extent. The niche has either a flattened 
three-pointed arch or a single, high, corbeled arch. Another noticeable characteristic is 
the alternating lily and rosette motifs in rectangular areas which form the design of the 
main border. Subsidiary borders are generally decorated with a running vine, leaf and 
flower. They usually have the same design but almost invariably a change in the color 
scheme. A universal characteristic is the row of pomegranate stems, leaves, and fruit in 
cross section decorating the panel. Only in rare instances are more than five stalks present. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 52 

Ghiordes knot, 64-112 to the sq. in.: 8 - 1 4 vert.; 8 hor. \6 ft. by 3 ft. 10 inf\ 

The field is dark red outlined in yellow with a flattened three-pointed arch out¬ 
lined in red, black, and yellow lines, each terminating in a typical open loz¬ 
enge or double hook motif, in red and blue. CThe light brown ground of the 
spandrel is broken by a highly conventionalized lanceolate leaf and floral motif 
suggesting the lanceolate leaf and palmette motif which occurs in Herat rugs. 
Dispersed over the ground are detached floral forms. The color scheme is red, 
yellow, two tones of blue, and violet, on a light brown ground. CL Below the red 
niche is the panel. It is separated from it by a blue stripe decorated with a run¬ 
ning vine, leaf, and flower design in red, black, and white between guard stripes 
of red and green spots. The usual pomegranate stalk motif appears on the red 
ground of the panel. The stalks are blue and the rest of the color scheme is red, 
green, and black, with spots of white. At the base of the panel are the usual 
arrowhead forms outlined in yellow, red, and white, and enclosing an attenu¬ 
ated hook pattern in terra cotta, blue, and white, on a violet ground. Immedi¬ 
ately below are three triangular areas, terra cotta in color, supporting eight- 
petaled floral forms, two in violet with red and yellow centres, and one in 
blue with a red and white centre. CThe main border is composed of a conven¬ 
tionalized lily motif alternating with a rosette, the two separated by a banner¬ 
like form. The unusual banner-like form also appears in rug No. 57. The 
color scheme is red, terra cotta, light green, two tones of blue, violet, “taupe” 
and white, on a yellow ground. At the left side of the rug, at each end of the 
main border, is a rectangle in which is a highly conventionalized tree-like 
motif. One is blue and brown on a terra cotta ground and the other red and 
brown on a blue ground. CThe inner border is composed of an angular run¬ 
ning vine pattern in yellow on a light brown ground, enhanced with leaf and 
flower forms in red, terra cotta, blue, and white; the vine changes at one end to 
green and at the other to blue. The guard stripes are red, spotted with white. 
On the inner side of the inner border is a stripe decorated with a reversed 3 


98 


OF ORIENTAL RUGS 


Ladik Prayer Rug of the Eighteenth Century No. $2 



•aafe&iiil 







1 0 > 


















































BALLARD COLLECTION 


motif in red and brown on a white ground. CThe outer border has the same 
running vine as the inner border in a similar color scheme but on a “taupe” 
ground. There is an inner brown guard stripe, spotted with red and white, and 
an outer white guard stripe spotted with red and brown. CThroughout the rug 
there are traces of a dark color which has disintegrated, not only changing the 
color scheme, but modifying the character of the design. The border stripes are 
narrower at the ends than at the sides. At each end there is a short fringe of 
warp threads. Formerly in the collection of the late W. D. Ellwanger. 

Ballard Collection, No. 56. 


Illustrated: Color plate in The Oriental Rug, by W, D. Ellwanger. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; Metropolitan Museum of Art, 
New York, 1921; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, 
Indianapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 53 

Ghiordes knot, ()6 to the sq. in.: 12 vert.; 8 hor. \6 ft. 7 in. by J ft. IO inf] 

The dark red field representing the prayer niche is outlined in green and 
arched with zigzag lines of brown, green, violet, white, and red. This perhaps 
simulates, in a flat plane, a perspective of the arch of the mihrab, and if so is an 
interesting presentation. At each angle of the outer zigzag line red hook-like 
forms, outlined in white, project into the spandrel. The zigzag lines are con¬ 
tinued at the top of the arch to form a double hook motif in red, lined with 
white. COn the blue ground of the spandrel are red octagonal forms outlined 
in yellow and white and embellished with leaf forms in varying combinations 
of yellow, blue, violet, and white. Projecting from the sides of the spandrel are 
conventionalized pomegranate leaves in red (not visible in the reproduction). 
CAbove the spandrel is a panel separated from it by a narrow stripe made up 
of a reciprocal forked pattern in brown and white between red guard lines. On 
the red ground of the panel is the usual design of pomegranate stalks in cross 
section alternating in blue and brown. The fruit on the brown stalks is outlined 
in yellow. This is the only portion of the design visible in the reproduction. At 
the base of the panel are arrowhead forms in red, white, and brown, enclosing 
a violet field on which is an unidentified motif which may be an architectural 
form. The two outer ones are yellow and the inner one is blue. Enclosed 
in these are tree forms in red. CThe main border has, on a yellow ground, a 
running violet line, probably a conventionalized vine, enclosing within its 
undulations two alternating geometric patterns in various color combinations, 


100 


OF ORIENTAL RUGS 



LadikPrayer Rug of the Eighteenth Century N0.53 














BALLARD COLLECTION 


including red, yellow, blue, and violet. At the inner turn of the vine a promi¬ 
nent unidentified motif with serrated edge appears in various combinations of 
red, yellow, blue, violet, brown, and white. CThe inner border, guarded by 
red and white lines, is made up of leaf-like forms in red, yellow, blue, and 
white on a brown ground. These are joined by their stems. CThe outer border, 
also guarded by red and white lines, is made up of detached eight-pointed 
geometric forms in red, yellow, and white, and occasionally blue and violet, on 
a brown ground. ([Two small flowers project from the left side of the niche. 
There is a short fringe of warp threads. Ballard Collection, No. 57. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 54 

Ghiardes knot, 96 to the sq. in.: 12 vert.; 8 hor. \6 ft. 5 in. by 4 /Y] 

The rich red field is outlined in yellow and has a flattened three-pointed arch 
outlined in yellow, blue, and red. Each of the three points terminates in the usual 
double hook motif in red lined with yellow. Projecting into the blue field of 
the spandrel are single hook motifs in red. (I At the top of the spandrel is the 
highly conventionalized design of the Herati lanceolate leaf and rosette in red, 
terra cotta, yellow, “taupe,” and brown, accented with single knots of white. 
Four octagonal forms in red, yellow, blue, and brown complete the decoration 
of the spandrel. CThe panel is above the spandrel and separated from it by a 
“taupe” colored stripe decorated with a running vine, leaf, and flower pattern 
in red, yellow, blue, green, and purple. The decoration of the panel is the 
usual pomegranate design in blue and black on a red ground. There are also 
the usual arrowhead forms, which are outlined in green, red, and white. They 
enclose a design made up of an attenuated double hook motif in terra cotta and 
blue, with a white centre on a purple ground. Beneath them are three equi¬ 
lateral triangles in terra cotta, each with an octagonal rosette of red, blue, and 
purple in its centre. CThe main border has the conventionalized lily and 
rosette motifs typical of Ladik rugs. The color scheme is red, terra cotta, yel¬ 
low, green, blue, and purple-black on a deep blue ground. CThe inner border 
is made up of an angular running vine, flower, and leaf design in red, blue, and 
purple-black on a yellow ground. The guard stripes are red spotted with 
white. Inside this border and surrounding the field is a narrow blue border 
decorated with a reversed S motif in red and purple-black, flecked with white. 
CThe outer border has the same design as the inner border, but with a different 


102 


OF ORIENTAL RUGS 



Ladik Prayer Rug of the Eighteenth Century 


No. 54 




















BALLARD COLLECTION 



Ladik Prayer Rug of the Eighteenth Century No. 55 



























OF ORIENTAL RUGS 


color scheme; the running vine is green, the flowers and leaves in varying com¬ 
binations of yellow, blue, purple-black, and white, and the ground terra cotta. 
The inner guard stripe, which is flecked with red, has a white ground which 
changes at the upper end to green. CThe outer guard stripe was probably 
purple-black and flecked with white and red. CThe borders are narrower at 
the ends than at the sides. There is a warp fringe at each end. 

Ballard Collection, No. 58. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 55 

Ghiordes knot, JO to the sq. in.: 10 vert.; J hor. [5 ft. II in. by 3 ft. IO in.] 

The prayer niche has a yellow field with two short red lines interpolated. It is 
outlined with light blue. The flattened three-pointed arch is outlined in blue, 
purple, red, and brown, each point terminating in the usual double hook 
motif in red and white. From the top of the middle point, hook forms project 
into the white ground of the spandrel. CThe upper part of the spandrel is 
decorated with two highly conventionalized so-called lamp forms in red, yel¬ 
low, green, blue, violet, and brown. There is a similar motif in the spandrel of 
rug No. 56. Two rosettes in red, blue, and white appear between the points 
of the arch, and octagonal forms in red, white, and brown appear at right and 
left. CThe panel is below the niche. It is separated from it by a stripe deco¬ 
rated with an S motif in red and blue on a black ground. The panel is decorated 
with the usual pomegranate stalks alternating blue and purple on a buff colored 
ground. The usual arrowhead forms below enclose an attenuated double hook 
design in red, blue, and white on a two-toned purple ground. Beneath these 
are three truncated triangles in blue, decorated with yellow rosettes with red, 
blue, and white centres. CThe main border has the usual lily and rosette 
motifs in red, yellow, green, blue, brown, and white, on a blue ground which 
changes here and there to green. CThe inner border is made up of a running 
vine, flower, and leaf design in red, blue, yellow, and white on a purple ground. 
The vine changes from red to blue at intervals. This border is flanked by 
yellow guard stripes spotted with violet, except at the ends where blue spots 
are used. A narrow border surrounds the niche and spandrel. It is decorated 
with reversed S motifs in red and blue on a brown ground. This border is 
repeated about the lower part of the panel. CThe outer border has the same 
design as the inner border but with a different color scheme; the ground is 
yellow and the running leaf and flower design is in two tones of blue, red, 

105 


BALLARD COLLECTION 



Ladik Prayer Rug of the Eighteenth Century No. $6 


























OF ORIENTAL RUGS 


purple, and white. The inner guard stripe is brown spotted with red and white 
knots. The outer guard stripe has a white or yellow ground spotted with red 
and brown. CThe borders are narrower at the ends than on the sides. There is 
a Silk fringe at each end. Ballard Collection, No. 59. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 56 

Ghiordes knot, 104 to the sq. in.: I3 vert.; 8 hor. [5 ft. jy 2 in. by 3 ft. Q in.] 

The field of the niche is red outlined with yellow. In the upper part yellow 
lines have been interpolated and yellow has also been used in the three points 
of the flattened arch. The arch is outlined in yellow, white, and black, and the 
points terminate in a modified double hook motif. It is possible that this 
so-called double hook motif is a conventionalized form of the mosque lamp, 
brought to mind because of its position in relation to the arch, or dome, and 
because in certain respects it is similar to the two forms in the spandrel of this 
rug, which are conceded to be conventionalized lamp forms. In the spandrel 
of rug No. 55 is a similar motif. C Below the niche is a red panel decorated 
with the usual pomegranate stalk motif in blue and purple-black. At the base 
of the panel are three arrowhead forms outlined in red, yellow, black, and 
white, from the outer edge of which project hook motifs in white. Within 
these arrowhead-shaped areas are attenuated double hook motifs in red, yellow, 
and blue, on a purple-black ground. Below are three triangles of blue with blue 
and red hooks projecting from the upper sides. These triangles enclose yellow 
rosettes with varied lozenge-shaped centres. CThe main border has a blue 
ground and the usual conventionalized lily motif alternating with an elongated 
rosette. Red, yellow, blue, and white are used in varying combinations for the 
lily pattern, whereas the rosettes have a greater variety of combinations in the 
same colors, with the addition of purple-black. CThe inner border has a 
main motif of a running vine in blue, red, and yellow on a yellow ground, 
with unenclosed guard stripes decorated with spots of blue and brown. En¬ 
closing the field and separating the panel from the niche is an added stripe 
with a contiguous angular S motif in red, blue, and yellow. The interstices 
between the S motifs were originally filled with black. CThe outer border 
is identical with the inner border. The inner guard stripe is white, spotted 


107 


BALLARD COLLECTION 



Ladik Prayer Rug of the Eighteenth Century No. S 7 













OF ORIENTAL RUGS 


with red and yellow. The outer one, originally black, is also spotted with red 
and yellow. C At the ends the borders are narrower than at the sides. 

Ballard Collection, No. 60. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 57 

Ghiordes knot, QI to the sq. in.: IJ vert.; J hor. \6 ft. Q in. by 4 ft. 2]/^ in.] 

The red field of the niche is surrounded by a cream colored stripe from which 
small flower forms in combinations of terra cotta, yellow, blue, brown, and 
white project into the field. This high-pointed stepped arch, outlined in 
brown, white, red, and violet, terminates at the top in a double hook motif, in 
the centre of which is a red and white flower form. At each angle of the 
stepped arch, single hook motifs in red, outlined in white, project into the 
spandrel. CThe spandrel has a blue field, on which is a highly conventional¬ 
ized lanceolate leaf, in terra cotta, with pendent flower forms in red, yellow, 
and brown, and a four-pronged pendent form in white. Two white ewers, out¬ 
lined in brown, appear at the right and left, together with two octagonal flower 
forms in terra cotta and blue. Below each ewer is an angular reversed S motif 
in white. Along the sides of the spandrel are corbeled pyramidal forms in red, 
yellow, and blue and in the lower corners minute tree-like forms in red. CThe 
panel is above the spandrel and is separated from it by a “taupe” colored stripe 
decorated with a running vine, flower, and leaf design in blue, green, and 
brown, flecked with red. Two guard stripes flank this stripe, both decorated 
with a reciprocal forked pattern in brown and white between red lines. The 
decoration of the panel is the usual pomegranate design, but in this case there 
are seven stalks instead of the usual five. At the base of the panel are three 
arrowhead forms outlined in red and white, each enclosing an unidentified 
design emanating from a triangle immediately below. CThe main border is 
composed of the alternating lily and rosette motifs characteristic of Ladik 
rugs. These motifs are separated by a banner-like form or bar, also seen in rug 
No. 52. The general color scheme is red, terra cotta, green, two tones of blue, 
violet, brown, and white. CThe inner border is made up of an angular run¬ 
ning vine, flower, and leaf design, the vine in red, outlined in brown, and the 
flowers and leaves in red, terra cotta, blue, violet, brown, and white. Flanking 
it are guard stripes of red, spotted with white and outlined with brown. Within 
this border, and completely surrounding the field, is a narrow stripe in two 


109 


BALLARD COLLECTION 


tones of blue decorated with red and brown angular S motifs flecked with 
white. CThe outer border has the same design as the inner border, with the 
vine in two tones of blue and the flowers and leaves in red, yellow, green, blue, 
violet, and white. There is an inner guard stripe of white flecked with red and 
brown. This is flanked by one red line and one brown line. The outer guard 
stripe is brown, flecked with red and white. CThe borders are narrower at the 
ends than on the sides, and there is a short warp fringe at each end. 

Ballard Collection, No. 61. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 58 

Ghiordes knot,(j6-112 to sq. in.: 12-14 vert.; 8 hor. [5 ft. 5 *«• by 3 ft- 11 

The prayer niche is a rich red outlined in brown and white. The three-pointed 
flattened arch at the top of the niche is outlined in white, red, light yellow, and 
brown, each of the three points terminating in the usual double hook motif, in 
light yellow. Single hook motifs in light yellow project into the spandrel from 
the outer yellow line. C Four highly conventionalized lanceolate leaves and at¬ 
tached conventionalized flower forms in red, blue, and white, together with a 
red and blue rosette, appear against the violet ground of the spandrel. In their 
arrangement, the leaves and the rosette recall the typical border motif of Herat 
rugs, though far less realistic, C Below the niche is the panel, separated from it 
by a blue stripe decorated with a running vine, flower, and leaf design in red 
and yellow, outlined with brown and flecked with white. This stripe is flanked 
by narrow stripes of brown and white. The panel is decorated with the usual 
pomegranate stalks, in yellow and brown. At the base of the panel are three 
arrowhead forms defined by yellow, red, brown, and white lines enclosing, on 
a purple ground, an attenuated double hook design in red, blue, and white. 
Below are three equilateral triangles of red (not visible in the reproduction), 
enclosing octagonal rosettes in red, yellow, blue, brown, and white. CThe 
main border is made up of the characteristic alternating Ladik lily and rosette 
in a variety of combinations of red, two tones of blue, green, violet, brown, and 
white, on a yellow ground. CThe inner border has an angular running vine, 
flower, and leaf design, on a white ground. The vine is white, like the ground, 
with bright spots of red, green, and blue in the flowers and leaves. All parts of 
the design are outlined in brown. Guard stripes of red, spotted with white, 
flank this border. A narrow stripe decorated with an angular S motif sur¬ 
rounds the field. Along the sides of the niche it is red, blue, and white on a 


110 


OF ORIENTAL RUGS 



Ladik Prayer Rug of the Eighteenth Century No. 5S 


\ 























































BALLARD COLLECTION 


brown ground; at the ends it changes to red and brown on a white ground. 
CThe outer border is identical with the inner border. The guard stripes are 
brown spotted with red and white knots. GAt the ends the borders are nar¬ 
rower than at the sides. A silk fringe has been added at each end. 

Ballard Collection, No. 62. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pittsburgh, 
1923; The John Herron ArtTnstitute, Indianapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 59 

Ghiordes knot, 104 to the sq. in. : IJ vert.; 8 hor. \6 ft. i n - by 3 ft- $Y * n -l 

The niche is red, outlined in yellow, and the flattened three-pointed arch is 
outlined in brown, yellow, violet, blue, and red. Each of the three points ter¬ 
minates in the usual double hook motif, in red and white, and single hook 
motifs in red, tipped with white, project into the blue field of the spandrel. 
Only the white tips of these hooks, however, are visible in the reproduction. 
GAt the top of the spandrel is a highly conventionalized design of the lanceo¬ 
late leaf and rosette in red, yellow, blue, violet, white, and a touch of green. 
Small detached floral and barred forms (the barred forms perhaps combs) in 
red and yellow and white appear in the lower part of the spandrel. CThe 
panel is above the spandrel. It is red and is decorated with the usual five pome¬ 
granate stalks. The design is in red, yellow, two tones of green, blue, and violet. 
Directly below are arrowhead forms outlined in green, brown, red, and white, 
enclosing an attenuated hook pattern in red and green on a violet ground. At 
the base of the panel are three red triangles and in the centre of each is an 
octagonal flower rosette in red, yellow, blue, violet, and white. CThe main 
border has the usual conventionalized lily and rosette pattern. The color 
scheme is light terra cotta, yellow, green, violet, brown, and white on a yellow 
ground. GThe inner border is blue, decorated with a running vine in red and 
attached flowers and leaves in red, terra cotta yellow, green, blue, violet, and 
white. It is darker at the upper end than at the lower. This change of color is 
a prevalent characteristic. The guard stripes are red, spotted with brown and 
white. Around the field, and also separating the spandrel and panel, is a white 
stripe decorated with a red and brown angular S motif. CThe outer border is 
the same as the ijoner border in design. The ground, however, is rose colored 
and the running vine is green; the flowers and leaves are red, yellow, green, 
blue, violet, and white. The inner guard stripe is brown, spotted with red and 


112 




OF 0RIENTAL RUGS 



Ladik Prayer Rug of the Eighteenth Century No. $Q 




























































































BALLARD COLLECTION 


white. The outer guard stripe is white, spotted with red and brown. CThe 
borders are narrower at the ends than at the sides. A narrow web and fringe is 
left at each end. Ballard Collection, No. 63. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] NO. 60 

Ghiordes knot,QQ to the sq. in.: II vert.; Q hor . \_6 ft. 2 in. by J ft. in.~\ 

The field of the niche is blue, outlined in red, and decorated with a highly 
conventionalized form in red, yellow, blue, violet, and white. It is possible 
that this is an elaborate modification of a mosque lamp. There are ewers at 
the ends of the three horizontal arms, and at the intersections of the arms are 
rectangles enclosing rosettes. Projected from the sides of the niche are small 
flower forms in red, yellow, blue, and white. The niche has a single-pointed 
stepped arch which is outlined in red, blue, violet, and green, the green termi¬ 
nating in a double hook motif lined with yellow. In the peak of the arch is an 
eight-petaled flower form in red, buff, and violet on a light blue square which 
appears to be a later interpolation. At each angle of the stepped arch a hook 
motif in green is projected into the red field of the spandrel. CThe span¬ 
drel is decorated with highly conventionalized lanceolate leaves in blue and 
violet, flecked with red and yellow. To the leaves are attached conventional¬ 
ized leaf or floral forms in yellow, blue, and violet, together with two ewers in 
solid blue. CThe panel is below the niche and separated from it by a red 
stripe, decorated with a running vine, flower, and leaf design in blue, yellow, 
and violet, flecked with white. It is flanked with narrow guard stripes of 
violet regularly spotted with white. The decoration of the panel is the usual 
pomegranate design. There are five stalks in green and warm brown, on a red 
ground. Below are arrowhead forms outlined in green, red, and white, which 
enclose an attenuated double hook in red and blue on what was originally a 
violet ground. The central one has a yellow centre and the outer ones have red 
centres. Below are three connected triangles in blue, projecting from the edge 
of which are small forms in red and blue. In the centre of each triangular 
space is a floral rosette. The outer one is red and blue; the inner one is red and 
yellow. CThe main border is decorated with highly conventionalized forms 
in red, “taupe,” two tones of blue, green, and violet, on a yellow ground. It is 
undoubtedly the rosette and lily pattern, but the lily has taken on a modified 
form, almost unrecognizable. CThe inner border has a purple ground and the 

”4 


OF ORIENTAL RUGS 



i. ly.^u ,n-:. ■ >j ■ 




U :; -. •' ' 


Ladik Prayer Rug of the Eighteenth Century No.dO 


















































BALLARD COLLECTION 



Ladik Prayer Rug of the Eighteenth Century No. 6l 





















OF ORIENTAL RUGS 


design is a running vine, flower, and leaf pattern in red, yellow, green, and 
blue, flanked by an inner guard stripe of red, spotted with brown and white, 
and an outer guard stripe of blue, spotted with red and brown. At the inner 
edge of this border is a narrow blue stripe decorated with angular S forms in 
red and brown, flecked with yellow and white. CEThe outer border has a simi¬ 
lar design but the ground is green, the vine is red, and the flowers and leaves 
are red, yellow, blue, and violet. The inner guard stripe is brown, regularly 
spotted with a red and white motif. The outer guard stripe is red, regularly 
spotted with a brown and white motif. The borders are narrower at the ends 
than at the sides, and there is a short warp fringe at both ends. 

Ballard Collection, No. 64. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 61 

Ghiordes knot, 112 to the sq. in.: 14 vert.; 8 hor. [5 ft. 6 in. by J ft. 6jA\, inf] 

The rich red field is outlined with creamy white, and in the peak of the stepped 
arch is a white ewer outlined with black. The arch is outlined with white, 
violet, and red lines, terminating in a double hook motif in red lined with 
white. A single red hook motif tipped with white is projected from each step 
of the arch. CEThe ground of the spandrel is blue and is decorated with a leaf 
and rosette design in red, violet, and white. This design is undoubtedly a 
highly conventionalized form of what is known as the Herati motif. Parts of 
this are repeated in the lower part of the spandrel, together with two ewers and 
small floral forms. CThe panel, which is below the niche, is separated from it 
by a delicate violet stripe decorated with a running vine, flower, and leaf 
design in red, yellow, blue, and violet. One guard stripe is red, brown, and 
white, and the other is brown and white. The panel is decorated with the usual 
cross section view of the pomegranate. Blue, green, and brown, flecked with 
yellow and white on a red ground, is the color scheme. Below are three arrow¬ 
head forms outlined in yellow, red, and white, within which are lozenge¬ 
shaped forms in red, blue, and white on a warm brown ground. At the base of 
the panel are three connected triangles in red with an eight-petaled floral 
rosette in the centre of each. The two outer rosettes are blue, with a red centre 
and a white spot. The inner one is white with a red centre and a blue spot. 
([The main border is decorated with a typical lily rosette design often seen 
in Ladik rugs. The scheme of color is also typical, including red, yellow, 

11 7 


BALLARD COLLECTION 



Ladik Prayer Rug of the Eighteenth Century 


No. 62 


















































OF ORIENTAL RUGS 


green, light blue, and violet on a dark blue ground. The inner border has 
a yellow ground and on it is an angulated running vine in red outlined in 
brown and embellished with flower and leaf motifs in red, green, blue, and 
two tones of violet. The guard stripes are red, outlined in brown and spotted 
with white. At the inner edge of this border, surrounding the entire field, is a 
border of contiguous angular S forms in red, blue, and yellow on a brown 
ground. CThe outer border has the same flower and leaf design in yellow, 
blue, and purple on a red ground. The guard stripes are brown, decorated 
with red and white spots. ([The borders are narrower at the ends than at the 
sides. There is a short warp fringe. Ballard Collection, No. 65. 

Exhibited. Pennsylvania Museum, Philadelphia, ipip/ Carnegie Institute, Pittsburgh, 
I 9 2 3 i The John Herron Art Institute, Indianapolis, 1924. 


LADIK PRAYER RUG OF THE EIGHTEENTH CENTURY. 

[ASIA MINOR] No. 62 

Ghiordes knot, 104 to the sq. in.: IJ vert.; 8 hor. [6 ft. by J ft. II in.] 

The red niche is outlined in green. A single stepped arch outlined in green, 
violet, and terra cotta terminates in the usual double hook motif, in terra cotta. 
From each angle of the stepped arch single hook motifs in terra cotta project 
into the blue field of the spandrel. CAt the top of the spandrel are conven¬ 
tionalized lanceolate leaves assembled with pendent flower forms and connect¬ 
ing lines reminding one of the well-kown Herati leaf and rosette motif. The 
color is red, terra cotta, violet, and white. Below is a repeat of the lanceolate 
leaf with a pendent floral motif, and in the lower corners of the spandrel are 
floral rosettes in terra cotta, green, and white. Other small conventionalized 
flower forms in red are dispersed over the blue ground. CThe panel is below 
the niche and separated from it by a stripe of green, decorated with a running 
vine pattern in red, violet, and white. There are guard stripes, one blue, red, 
and brown, and the other red, white and brown. The panel is red, decorated 
with the typical Ladik design of five pomegranate stalks, in this case solid 
green, flecked with white. At the base of the panel are three arrowhead forms 
outlined in brown, yellow, red, and white, enclosing attenuated double hook mo¬ 
tifs in red and green with white and green centres. Below are three connected 
triangular areas projected from the sides of which are small red and green 
irregular motifs. In the centre of each triangle is an eight-petaled flower 
rosette; the two outer ones are green, with red centres flecked with white, and 
the inner one white, with a green and red centre. CThe main border has a 
ground changing from blue to green, and is decorated with the usual conven- 

119 


BALLARD COLLECTION 


tionalized lily and rosette motifs alternately placed. The color used in these 
motifs is red, terra cotta, yellow, green, blue, violet, and white. CThe inner 
border is decorated with an angular running vine, flower, and leaf design in 
red, blue, green, violet, and white on a yellow ground. The guard stripes are 
red with white spots. A blue stripe surrounds the field. It is decorated with an 
angular reversed S motif in red and brown. Cl The outer border has the same 
design as the inner border in two tones of blue, yellow, green, violet, and white, 
on a terra cotta ground. The guard stripes are white with red spots. CAn 
extra red line extends around the outer edge of the main border. The borders 
are narrower at the ends than on the sides. Ballard Collection, No. 66. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE OUSHAK GROUP 

The sixteen rugs in this group came from Oushak in Asia Minor, about one hundred and 
fifty miles cast of Smyrna. The motifs are bold and vigorous, always conventionalised, 
and often geometric. Large medallions are common decorations of the field, with por¬ 
tions used as repeats to complete the pattern; when small medallions are used they are 
placed in the centre of the field, with quadrants of arabesque medallions in the four 
corners of the field. Small floral arabesques are invariably associated with the large 
medallions. There is, as a ride, a single main border with two flanking guard stripes, and 
the decoration of this border is generally some form of the Chinese cloud band, or a 
modification, often remote, of the lanceolate leaf and palmette. A characteristic guard 
line has a close pattern of spots, in two contrasting colors. Throughout the rug red, 
yellow, and blue are largely used, and dark green is not unusual. Orange is not found, 
and purple seldom found. Black and brown are introduced for outlining the motifs, and 
white occurs sparingly for embellishment. Generally speaking, the color scheme is below 
middle value. The Ghiordcs knot is always used, and the number of knots to the square 
inch is nearly uniform throughout the rug, averaging about eighty to the square inch. 
The pile is usually short. Included in this group are five rugs which have characteristics 
sufficiently different from a typical Oushak to group them by themselves. These consti¬ 
tute the so-called “Holbein" rugs, a name that adheres because similar types appeared in 
fifteenth and sixteenth century European paintings, particularly those of Hans Holbein. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 63 

Ghiordcs knot, 88-96 to sq. in.: 11-12 vert.; 8 hor. [/4 ft. 1,0 in. by 7 ft. 4 in.] 

The large blue medallion which is in the centre of the red field has on it a four- 
lobed form defined by arabesques, with elaborate terminals at the four points. 


120 


OF ORIENTAL RUGS 



Oushak Rug of Sixteenth Century No. 63 










BALLARD COLLECTION 


The ground of this form is red, and from the centre four palmettes in dark 
blue and green, yellow, and rose radiate to fill the four lobes. Around the 
palmettes are floral arabesques in pastel colors. On the field of the large blue 
medallion are heavy floral and leaf arabesques in two tones of red, yellow, 
green, blue, and violet. At the outer edge of the medallion is a prominent red 
line, and surrounding it is a fringe made up of trefoils in rose on a dark green 
ground which follows the contour of the trefoils. At each end of the medallion 
are two small pendent medallions outlined in yellow, red, and brown, enclos¬ 
ing a dark green ground with a palmette in rose, red, and yellow. At the sides 
of the rug at each end are halves of double medallions with petal-like divisions 
outlined in yellow. An intricate floral arabesque in two tones of red, yellow, 
green, and two tones of blue decorate these medallions. At the end of the rug, 
in the middle, is a small medallion which is the beginning of a repeat of the 
large central medallion. The portions of the red field not covered by the medal¬ 
lion areas are decorated with a delicate naturalistic flower spray design in dark 
blue. CThe main border is blue decorated with a cloud band motif, alternat¬ 
ing red and yellow, between which is a rosette in light tones of the same colors. 
Interlaced with these motifs are small, highly conventionalized flowers and 
leaves. CThe inner stripe is decorated with an angular S chain motif in red 
and brown, on a yellow ground, except at one end where the ground changes to 
green. Red and brown lines flank this stripe. CThe outer stripe is red with 
an angulated vine motif in blue, with small leaves in rose, blue and yellow. 
The guard lines are red, yellow, and brown. They are omitted on the outer 
edge. CThe bold, vigorous aspect of the medallions is in pleasant contrast to 
the naturalistic, somewhat delicate design of the blue sprays which surround 
them. The strong colors of the large units are also pleasantly contrasted with 
the pastel colors of the smaller units. They blend and produce, nevertheless, a 
typically Oriental effect. Ballard Collection, No. 67. 

Exhibited: The Cleveland Museum of Art, 1919; Metropolitan Museum of Art, New 
York, 1921; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 64 

Ghiordes knot, 84 to the sq. in.: 12 vert.; J hor. [/2 ft. 8 in. by 8 ft. 4 in .] 

The field is red, crossed by blue bands to form an ogee pattern. The bands are 
decorated with a running open leaf and flower design in yellow. The medal¬ 
lions formed by the blue bands are decorated with arabesques in yellow, green, 


122 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century 


No. 64 














BALLARD COLLECTION 


two tones of blue, and white, outlined in brown. At the right and left, along 
the edge of the rug, the ends of this medallion are repeated. Placed intermedi¬ 
ately are smaller flattened medallions, which are similar to the large ones in the 
centre. CThe border is decorated with an undulating line in yellow, outlined 
in brown, embracing a modified rosette form alternating blue and green, with 
an intervening unidentified motif in white. Associated with the green rosette 
form is a wavy line in blue, and associated with the blue rosette form is a wavy 
line in green. These wavy lines, though they look like cloud bands, are un¬ 
doubtedly much modified lanceolate leaves. CThe border is flanked with 
narrow border stripes. The one on the inside has a blue ground, flanked with 
yellow guard lines outlined in brown; and the one on the outside has a yellow 
ground, flanked with a blue and red guard line, also outlined with brown. Both 
are decorated with an undulating vine motif in red, outlined in brown, embel¬ 
lished at regular intervals with small leaf forms in red and blue, or red and 
yellow. Ballard Collection, No. 68. 

Exhibited: Pennsylvania Museum, Philadelphia, /pip; The Cleveland Museum of Art, 
1919; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 
1924. 

OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 65 

Ghiordes knot, 63 to the sq. in.: Q vert.; 7 hor. [// ft. by 6 ft. Q in.] 

In the centre of the red field is a lozenge with a blue ground, outlined in white 
and brown. Superimposed upon it is a tile-like form separated into its compo¬ 
nent parts by a white and yellow arabesque emanating from a diamond-shaped 
centre, on the blue ground of which is an eight-pointed star, in red and yellow, 
outlined in brown. Each of the four compartments of the tile form is sub¬ 
divided into two equal parts, one red and one green. Each part is decorated 
with a flower motif, half red and half blue. At the ends of the rug are red 
medallions with four large radiating blue points. They are outlined in green, 
brown, and white, and support four palmettes in red, yellow, and violet, emanat¬ 
ing from a rectangle which has a blue ground. The four radiating blue points, 
outlined in brown and white, enclose arabesques in red, yellow, and blue, out¬ 
lined in brown. At each side of this design is half of the repeat of the central 
medallion, and in the four corners are small points simulating the same design. 
Directly opposite the central medallion is half a square, also with a similar 
design and color scheme. A Chinese knot device in white, embellished with 
red and blue, and outlined in brown, connects the points of the medallions. 
Emanating from the sides of the large medallions are arabesques in green 


124 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century No. 65 





BALLARD COLLECTION 


embellished with spots of red, yellow, and blue. CThe main border is deco¬ 
rated with an undulating running vine in red, outlined in brown, and a rosette 
motif alternating with a star-like flower form. The ground is blue. The 
rosettes are red, yellow, blue, violet, brown, and white, outlined in brown; the 
star-shaped form is in red, yellow, and white, also outlined in brown. COn the 
inner edge is a narrow stripe decorated with an angular S chain pattern in 
brown and red on a yellow ground, each link joined by a small conventional¬ 
ized rosette in either red or blue. It is flanked with brown lines spotted with 
white. C Surrounding the rug is another stripe, with a red ground, decorated 
with a running angular vine and leaf motif. The vine is brown and the leaves 
are in light or dark blue, yellow, or green. Brown outlines the design, and 
brown guard lines, spotted with white, flank the border. 

Ballard Collection, No. 69. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 66 

Ghiordes knot, 36-42 to the sq. in.: 6 -J vert.; 6 hor. \y ft. 3 in. by 5 ft. 4 * n -] 

Over the red field are diagonal yellow bands, decorated with small diamond 
forms in violet, and connected at the ends by yellow octagonal forms. The 
bands, if seen in perspective, show what seems to be the top and end view of a 
wall. The bands and the connecting units form lozenge-shaped areas within 
which is a quadrilateral design composed of highly conventionalized tree-like 
forms springing from the four sides of a central rectangle. From the corners 
of this rectangle project smaller rectangular forms. The color scheme is two 
tones of blue, and green, with the central parts in light red. Scattered over the 
field are small detached geometric forms in green, blue, and white. CThe main 
border is composed of joined geometric units simulating fret work, in two tones 
of red, yellow, green, blue, violet, and white, on an orange ground. CThe 
narrow inner stripe is decorated with a “twisted ribbon” pattern in red, out¬ 
lined in brown, on a violet ground. Two guard stripes are made up of closely 
fitting red and white knots enclosed in brown lines. CThe outer border has the 
same design as the inner border but the ground is purple and the design is in 
red, yellow, blue, and green. It is flanked with guard stripes similar to those of 
the inner border. CThe character of the design is modified at one end of the 
rug where repaired areas are visible. Ballard Collection, No. 70. 

Exhibited: Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pitts¬ 
burgh, 1923; The John Herron Art Institute, Indianapolis, 1924. 


126 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century 


No. 66 



















BALLARD COLLECTION 



Oushak Rug of Sixteenth Century No. 







OF ORIENTAL RUGS 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] No. 67 

Ghiordes knot, JO-JJ to sq. in.: IO-II vert.; J hor. [j ft. 6 in. by 4 ft. 4 in.] 

In the centre of the rug is an irregular six-sided blue medallion on which is a 
smaller hexagonal form decorated with geometric motifs in blue, and yellow, 
on a rose-red ground. Radiating from this central motif are four yellow ara¬ 
besques the points of which are connected, thus enclosing four palmettes pen¬ 
dent from the central motif. The palmettes, together with smaller intermedi¬ 
ate floral forms, are in red, yellow, green, and blue. The large medallion is 
edged with brown points, tipped with blue and outlined with yellow, sur¬ 
rounded by a meander pattern in green, forming, at the two ends of the medal¬ 
lion, a point which connects with a palmette in red, yellow, green, and blue, 
outlined with red, brown, and blue. These forms are hardly visible in the 
reproduction. In the angles formed by the four corners of the field are heavy 
arabesques in red, blue, green, and brown, outlined in yellow. Intermediately 
placed on the field of the rug are floral arabesques in blue. CThe main border 
is made up of a geometric pattern in red, yellow; green, and light blue, out¬ 
lined with red and brown, on a dark blue ground. CThe narrow inner stripe 
is brown, flanked by red lines and decorated with a small geometric form in 
yellow, interspersed with two spots of red. CThe outer stripe is composed of 
a running reverse curve design in red and green. There are inner guard lines 
of yellow and brown, and outer guard lines of blue and red. The outer stripe 
has been worn and repaired so that the design is not visible in the reproduc¬ 
tion. C A web has been added at the ends beyond the original design. 

Ballard Collection, No. 71. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


OUSHAK RUG OF THE SEVENTEENTH CENTURY. 

[asia minor] No. 68 

Ghiordes knot, 56-QO to sq. in.: 8-10 vert.; J-Q hor. [6 ft. J in. by 3 ft. IO in.] 

The red field is decorated with an allover arabesque-like pattern in yellow, 
outlined in black. There is a narrow continuous stripe extending down each 
side and branching out at regular intervals toward the centre, thus forming a 
series of alternating square and rectangular units. The design is embellished 
at central points with small geometric and floral forms in red, green, blue and 
white. CThe border is bright blue, decorated with a palmette-like form partly 


129 


BALLARD COLLECTION 



Oushak Rug of the Seventeenth Century No. 68 




















































OF ORIENTAL RUGS 


in purple, outlined with red, and partly in red and yellow. The palmette alter¬ 
nates with a four-pointed rosette-like form, in red, with blue star-shaped 
centre. The palmettes and rosettes are separated by an unidentified form, alter¬ 
nating in red and yellow, not unlike the archaic animal forms seen in ancient 
Chinese jade. Filling the open spaces of the rosette pattern are two barred 
forms in red and yellow. GThe inner border, a somewhat lighter blue than the 
main border, is decorated with a running vine in red, crossed at regular inter¬ 
vals by a red and white reverse curve motif alternating with a conventional¬ 
ized leaf form. Kvery other one of these forms is purple; the intervening ones 
are dark blue. The guard stripes are white and purple, outlined with red. 
CThe outer border is red, decorated with a yellow reverse curve pattern 
enlarged at the centre and embellished with red and black, and joined by 
octagonal forms with red, blue, and white centres to form an S chain. The 
guard stripes are brown and white, outlined with a single red line. CEThere is 
a warp fringe at each end. This type of rug is known as a “Holbein” rug. 

Ballard Collection, No. 72. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

OUSHAK RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] NO. 69 

Ghiordes knot, JO-JJ to sq. in.: IO-II vert.; J hor. [4 ft. II in. by 4 ft. I in.] 

The vari-toned red field has on it a design, in white, made up of floral scrolls, 
a meander simulating a niche, and an unidentified animal-like motif, or a 
remote leaf form. Small detached floral forms in two tones of blue and green 
are scattered over the field, together with other small geometric forms in 
white. GThe wide main border is decorated with an extraordinary, remote 
conception of the lanceolate leaf and palmette design. The main unit—that is, 
the leaf and palmette—is well defined. Far Eastern elements are suggested by 
the ewer forms at right and left of the palmette-like form, by the archaic 
animal forms above the ewer, and by the banner, which is a part of the “palm¬ 
ette.” The color scheme, as well as the individual units of design which make 
up the whole, is varied. There are two tones of red, yellow, two tones of green, 
two tones of blue, and white, on a purple-black ground. Narrow stripes guard 
the border. GThe inner one is blue and red, outlined with purple-black; the 
outer one is red and white, similarly outlined. GThere are short webs at each 
end and new bindings at the sides. Ballard Collection, No. 73. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


131 


BALLARD COLLECTION 



Oushak Rug of the Seventeenth Century 


No. 6q 



















OF ORIENTAL RUGS 


OUSHAK RUG OF THE SEVENTEENTH CENTURY 

[ASIA MINOR] ' Nq 7q 

Ghiordes knot, 81 -go to the sq. in.: g-io vert.; g hor. [6 ft. 8 in. by 3 ft. 7 in.] 

The red field is completely covered with a palmette flower arabesque in yellow, 
out ined in brown, which forms squares and intervening rectangular areas, 
defined by a continuous line of arabesques through the centre. The yellow of 
the arabesques is embellished with pairs of small five-sided forms in blue, out¬ 
lined in red and brown, every other pair of which have two hooked motifs in 
brown. In each rectangular area are pairs of conspicuous blue and white spots. 
Attached at regular intervals are small white squares outlined in brown GThe 
main border is made up of interlaced bands of white, outlined in brown, in 
a geometric pattern, the basic element of which was probably Cufic writing. 
Red and blue have been used to enhance the design, which is on a green ground. 
CThe inner stripe is blue decorated with a “twisted ribbon” pattern in red, 
outlined in brown. The guard lines are made of alternate knots in red and 
white. CThe outer border is red, with a “twisted ribbon” pattern in blue, with 
now and then the interpolation of green. CEThe sides are bound with blue and 
there is a blue web and short white fringe showing at each end. This type of 
rug is known as a “Holbein” rug. Ballard Collection, No. 74. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


OUSHAK PRAYER RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 71 

Ghiordes knot, 120 to the sq. in.: 12 vert.; 10 hor. [5 ft. by 3 ft. 7 in.] 

In the centre of the red field, which is enclosed in light blue and brown, is a 
four-pointed, tile shaped medallion outlined in red, violet, and blue. It has a 
yellow ground on which are four palmette forms in red and blue connected by 
a diamond centre enclosing a red floral form, on a white ground. In each of 
the four corners of the field is a quadrant of an arabesque medallion in red,, 
yellow, dark green, and blue. At one end the quadrants are outlined with 
brown. At the other end, where the joining of the quadrants forms a niche-like 
area, they are outlined in brown and white. From the peak of the niche hangs 
a floral pendant suggesting a mosque lamp. CThe main border is made up of 
cloud forms alternating with highly conventionalized flower forms. The cloud 
bands are alternately in red and blue, embellished with bits of terra cotta, yel¬ 
low, green, brown, and white. The floral forms between the cloud bands have 


133 


BALLARD COLLECTION 



Oushak Rug of the Seventeenth Century 


No. 70 







































OF ORIENTAL RUGS 



Oushak Prayer Rug of the Sixteenth Century No. JI 










BALLARD COLLECTION 


the same color scheme. The ground of the border is a brilliant blue. CA nar¬ 
row inner stripe surrounds the field and is made up of small panels in various 
colors, each enclosing a reverse curve. CThe outer stripe is red and is com¬ 
posed of a reverse curve motif in blue and brown. On the inner side is a row 
of brown and white knots, which, no doubt, were repeated at the outer edge, 
not visible because of a blue binding. Ballard Collection, No. 75. 

Exhibited: The Cleveland Museum of Art, 1919: Minneapolis Institute of Arts, 1922; 
The Art Institute of Chicago, 1922; San Francisco Art Association, 1923; Carnegie 
Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 1924. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 72 

Ghiordes knot, IIO-143 to sq. in.: I I-IJvt.; 10-11 hr. [5 ft. I in. by 3 ft. 5 *«■] 

The red field is enclosed by a yellow line, and in the centre of it is a dark blue 
lozenge-shaped medallion outlined with yellow, red, and green, enclosing a 
smaller lozenge which has projecting from its sides red hook motifs and four 
small white flower forms. This smaller lozenge is divided by a line of green 
into four parts, in each of which is an unidentified motif, sometimes called the 
scorpion design, in red, on a dark blue ground. The centre is light blue out¬ 
lined in red. In the angles of the four corners of the field are quadrants of an 
arabesque medallion in yellow and blue, on a red ground. These join and form 
arches at each end of the rug. ClThe main border is decorated with a palmette 
enclosed by arabesques, alternating with an attenuated modified palmette. The 
color scheme is red, yellow, green, and light blue, outlined in light brown, on 
a dark blue ground. CThe inner border, though indefinite in form, suggests 
the Chinese dragon design, better known in rug parlance as the “curl” pattern. 
It is flanked with yellow and red guard lines. On the outer border is a run¬ 
ning pattern of a flower, leaf, and stem motif in yellow, two tones of blue, and 
green, flecked with white, on a red ground. It is flanked by red and yellow 
guard lines. CThe borders, as usual, are narrower at the ends than at the sides. 
Along both sides is a yellow selvedge, and at each end is a web and short fringe. 
CFormerly in the Davanzati Palace, Florence. Ballard Collection, No.76. 

Exhibited: Metropolitan Museum of Art, New York, 1921; Minneapolis Institute of 
Arts, 1922; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


136 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century 


No. J2 




















BALLARD COLLECTION 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 73 

Ghiordes knot, 120-140 to sq. in.: 12-14 vert.; IO hor. [5 ft. J in. by J ft. 5 in.~\ 

The dark red field is decorated in the centre with an eight-pointed blue medal¬ 
lion, outlined with white and black, and decorated with somewhat regular 
arabesques in yellow and red. At each end is a smaller four-pointed medallion 
similarly decorated and joined at each side with a repeat of three points of the 
centre medallion. The centre medallion is also joined at each side with a repeat 
of a single point of the end medallion. Intermediately dispersed over the field 
are floral arabesques with green stalks, and rose, yellow, green, blue, and white 
flowers and leaves. CThe main border is decorated with floral arabesques in 
two tones of red, yellow, two tones of green, dark blue, and a predominating 
zigzag line in yellow, on a blue ground. C There is an inner stripe of a wavy 
red and white line, outlined in brown, on a yellow ground. At its outer edge 
is a narrow red stripe. CThe outer border is entirely missing and a new sel¬ 
vedge has been turned on the sides. Formerly in the Holstein Collection. 

Ballard Collection, No. 77. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Minneapolis Institute of Arts, 
1922; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 
1924. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 74 

Ghiordes knot, 72-80 to sq. in.: Q-IO vert.; 8 hor. [5 ft. 7 in. by J ft. IO in.~\ 

On the bright red field are arabesques in yellow, outlined in brown, with spots 
of blue and touches of white throughout. The arabesques are arranged with 
two narrow bands of continuous units at each side, joined at regular intervals, 
thus suggesting square and rectangular areas which alternate through the 
centre of the rug. CThe main border is green, with an interlaced fret-like 
pattern, not unlike Cufic characters, in white, outlined in brown, and embel¬ 
lished with blue and red. CThe inner guard stripe has, on a blue ground, a 
“twisted ribbon” design, in red, outlined in brown, wavy at the ends, and angu- 
lated at the sides. This is flanked with red lines, and, on the outer edge, an 
additional yellow line. CThe outer stripe has a similar motif in yellow and 


138 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century 


No. 73 





BALLARD COLLECTION 



Oushak Rug of the Sixteenth Century 


No. 74 



















OF ORIENTAL RUGS 



Oushak Rug of the Seventeenth Century No. 75 



















BALLARD COLLECTION 


blue on a red ground, but does not continue across the ends. ([This type of rug 
is known as a “Holbein” rug. Ballard Collection, No. 78. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; The Cleveland Museum of Art, 
1919; Metropolitan Museum of Art, New York, 1921; Minneapolis Institute of Arts, 
1922; Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 
1924. 


OUSHAK RUG OF THE SEVENTEENTH CENTURY. 

[asia minor] No. 75 

Ghiordes knot, 56 to the sq. in.: 8 vert.; 7 hor. [5 ft. Q in. by 3 ft. IO in.] 

The red field is covered with an allover palmette arabesque in yellow, embel¬ 
lished with two tones of red and two tones of blue. The entire pattern of the 
field was originally outlined in black, but no traces of it remain. ([Surround¬ 
ing the field is a narrow blue stripe decorated with a zigzag line in red crossed 
at regular intervals with what may be a leaf form. This border was presum¬ 
ably flanked with a black stripe, which has entirely disappeared. On its outer 
edge are two extra lines of yellow and red. CThe main border is decorated 
with an interlocking blue and yellow tile pattern, which produces the effect of 
a yellow medallion on a blue ground. The yellow medallion is outlined with 
red and decorated with a conventionalized palmette-like form in red, two tones 
of blue, and white. The blue area is decorated with geometric floral forms in 
two tones of red, light blue, and yellow. There is no connecting corner motif 
in this border, so that the continuity of the design is broken at these points. 
([The outer border is yellow with an undulating vine-like pattern in red. 
There is a red and blue selvedge at the sides. A blue and yellow web with a 
red stripe has been continued beyond the pile at one end, and a red and blue 
one at the other. This type of rug is known as a “Holbein” rug. 

Ballard Collection, No. 79. 

Exhibited: Metropolitan Museum of Art, New York, 1921; Carnegie Institute, Pitts¬ 
burgh, 1923; The John Herron Art Institute, Indianapolis, 1924. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 76 

Ghiordes knot, S 4'^3 to the sc l • *»••* 9 vert.; 6-J hor. [5 ft. Q in. by 4 ft. 3 in.] 

Covering the entire field of the rug is a blue medallion, with pointed ends and 
flattened sides. Within it is another medallion, divided into four lobes by a 


142 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century 


No. 76 









BALLARD COLLECTION 


yellow arabesque, each lobe containing a palmette and floral arabesque in red, 
yellow, and two tones of blue, with touches of green and brown. Two of the 
palmettes have the same blue ground as the large medallion, and two have a 
red ground, all four emanating from a central lozenge. The outline of the 
large medallion is edged with yellow pointed trefoils on a brown ground, the 
contour of which follows the general form of the trefoils. In the corners of the 
field are floral arabesques in blue, on a red ground. ([The main border is com¬ 
posed of floral forms in red, yellow, green, and blue, on a dark blue ground. 
The border has been cut and subsequently bound so that the complete design is 
no longer visible. ([The inner stripe is composed of a running pattern in red, 
on a yellow ground. There is no outer stripe. This is a fragment, the centre 
and borders being assembled in the form of a rug. Ballard Collection, No. 80. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 77 

Ghiordes knot, J2 to the sq. in.: 8 vert.; Q hor. [5 ft. J in. by J ft. 4 

The red field of this rug is decorated with a central medallion in green with 
an irregular outline in red, brown, and white. On the green ground of this 
medallion are floral arabesques in red, yellow, blue, brown and white. In 
the centre is a four-pointed tile form divided into four compartments by 
a white line, outlined with red. In each of the four parts is the so-called 
“scorpion” design in red and yellow, emanating from a small diamond form in 
blue, outlined in red, upon which is a rose-colored eight-pointed star. In each 
of the corners of the field is a quadrant of a medallion with a blue ground, 
outlined in red, light blue, and brown, and decorated with an arabesque in red, 
rose, yellow, green, and white. Around the entire field of the rug extends a 
light blue line. ([The main border has a yellow ground, and on it is the con¬ 
ventionalized Chinese cloud pattern, alternating red and blue, with an inter¬ 
vening rosette. The rosettes are yellow, outlined in red, with light blue centres, 
with the exception of the two middle ones, which are dark blue. Joining the 
palmette and the rosette is a running vine with a highly conventionalized geo¬ 
metric flower form in rose-red. Red, green, and blue leaves fill the open parts 
of the ground. The inner guard lines are red and yellow. ([There is a blue 
Selvedge and a Warp fringe. Ballard Collection, No. 81. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


144 


OF ORIENTAL RUGS 



Oushak Rug of the Sixteenth Century No. JJ 





BALLARD COLLECTION 



No. 78 


Oushak Rug of the Sixteenth Century 








































OF ORIENTAL RUGS 


OUSHAK RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 78 

Ghiordes knot, 63-72 to the sq. in.: Q vert.; J-8 hor. [6 ft. 6 in. by 4 ft.~\ 

The rose ground of the field is decorated with alternate rows of blue and white 
medallions interspersed with star-shaped forms enclosed in octagons, in two 
tones of red, blue, violet, and white. The white medallion has a red octagonal 
centre decorated with a rosette in two tones of red, blue, green, and white. An 
interlaced design, in two tones of red, and originally violet, outlines the medal¬ 
lion. The blue medallion has a lineal arabesque pattern in blue and green with 
a lozenge centre in two tones of red, and white, and probably violet. ([The 
main border is decorated with a fret pattern in white embellished with red, 
blue, and green, somewhat resembling Cufic characters. One-third of the bor¬ 
der has a violet ground, the other two-thirds being a deep red. CThe inner 
and outer borders are decorated with a “twisted ribbon” design in red, blue, 
green, and violet, on a yellow ground except at one end, where the ground 
changes to red. The guard stripes are red and white. CThere is a red and 
yellow fringe at each end. This type of rug is known as a “Holbein” rug. 

Ballard Collection, No. 82. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE ASIA MINOR MISCELLANEOUS GROUP 

Naturally, as large a territory as Asia Minor furnishes some rugs without sufficient char¬ 
acteristics to include them in the groups already noted, or without sufficient well-defined 
individual characteristics to form a group of their own. Furthermore, there are in this 
collection several Asia Minor rugs each of which is the only representative of the group 
to which it belongs. They are, therefore, included in this miscellaneous Asia Minor group. 


RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] Na 79 

Ghiordes knot, 48-63 to the sq. in.: 8-Q vert.; 6-J hor. \J ft. Q in. by 5 ft. 6 mf] 


The field of this rug is red and is outlined to form an arch at each end. From 
the crown of each arch is a ribbon-like stripe of light brown, decorated with 
spots of blue and red and flanked with red and brown. This forms the means 
of suspension for the lamp-like form in the centre of the field. The lamp form 
is light brown, blue, red, and green. Scattered over the rest of the field are 


147 


BALLARD COLLECTION 


small flowering tree-like forms in blue or brown, enhanced by spots of light 
brown, blue, and white. The two arches are outlined with narrow lines of blue, 
light brown, green, and red, and with a wider stripe of white spotted with 
brown. The corners of the field, which are the spandrels of the arches, have a 
brown ground and are decorated in arabesque forms in light brown, red, blue, 
and green. CLThe main border is decorated with what is said to be the mark 
of Tamerlane, which includes a stripe and three balls. All the colors of the 
field are used here in various combinations, on a natural colored ground. 
(IOn the inner edge of this border, and surrounding the field, is a brown 
stripe, on which are light brown rectangles, with red centres, interspersed with 
white spots. ([Around the outer edge is a plain brown stripe, and at each end 
is a fringe of warp threads. Though the history of this rug points to an Asia 
Minor source, the characteristics point strongly to a Caucasian provenance. 
Formerly in the J acoby Collection. Ballard Collection, No. 15. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


MUDJUR RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 80 

Ghiordes knot, 63-72 to the sq. in.: Q vert.; J-8 hor. [6 ft. I in. by 4 ft- 5 * n -~\ 

The niche area of the field is red, outlined in blue, white, yellow, and red wavy 
lines which terminate in a stepped arch, from the angles of which small four- 
petaled floral motifs, in blue, project into the niche. Down the sides and across 
the base of the niche the wavy lines form an angulated pattern embellished 
with spots of red, white, and blue. The sides and top of the spandrel have a 
continuation of the triangular-like formation appearing at the sides of the 
niche; and on the green ground of the spandrel are two ewers, one in yellow 
and one in red, both decorated with a plant motif in blue, and with a star¬ 
shaped ornament hanging from the spout. From the angles of the arch small 
red flowers, tipped with white, project into the spandrel, and reverse curve 
forms, in red and yellow, and a small octagonal form, complete the decora¬ 
tion. CThe panel above the niche has a brown ground and is decorated with 
so-called arrow-head forms, which in this rug are repeats of the dome of the 
arch. Within the arrow points the ground is blue, yellow, brown, green, or 
red, with an arrow-point device outlined in red, violet, or yellow. Between the 
arrowheads are elongated forms repeating the terminal motif of the arrow- 
point, either in yellow, green, blue, or violet, outlined in red. Surrounding the 
panel and also enclosing the entire field is a narrow yellow stripe with a zigzag 


148 


OF ORIENTAL RUGS 



Asia Minor Rug of the Sixteenth Century No. JQ 




























BALLARD COLLECTION 



Mudjur Rug of the Eighteenth Century No. 80 























OF ORIENTAL RUGS 


line embellished with red, yellow, green, blue, violet, and white, outlined in 
brown, with a T motif, in brown, forming a part of the pattern. CThe main 
order is decorated with square tile-like forms, the principal decoration of 
which is an eight-petaled rosette. The color scheme is red, yellow, green, two 
tones of blue, violet, brown, and white. At each end three small octagonal 
forms have been introduced, so that at the corners there would be no interrup¬ 
tion of the decorative unit. CThe inner border has a double lozenge motif, one 
in outline and one solid, in various color schemes, on a blue ground. Between 
this border and the inner border is a red stripe flanked with brown lines and 
s t a §S ere d with white dots. CThe outer border is decorated with groups of 
octagonal forms divided into four parts in various combinations of red, yellow, 
green, blue, violet, white, and brown, with a white and yellow conventional¬ 
ized motif placed at irregular intervals. The outer border is flanked by yellow 
lines, and by guard stripes decorated with a reciprocal tooth pattern, on the 
inner side in red and yellow, outlined in brown, and on the other side, in red 
and brown, outlined with white. There is a fringe of warp threads at each end. 

Ballard Collection, No. SS. 

Illustrated : An Exhibition of Oriental Rugs, Carnegie Institute, 1923. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


DRAGON RUG OF THE SEVENTEENTH CENTURY. 

[ASIA MINOR] NO. 81 

Ghiordes knot, 8l-QO to the sq. in.: Q-IO vert.; Q hor. [6 ft. by 3 ft. 6 in.] 

Rugs of this character are seldom seen in so small a size. It follows rather 
closely a design seen in the large pieces known as “dragon” rugs. The ground 
is red, and in the centre is an octagon interlocked at each end with a lozenge, 
and flanked at the sides by half of the “dragon” motif which gives the name to 
these so-called “dragon” rugs. It is a highly conventionalized form somewhat 
similar to the ancient Chinese motif known as the dragon. The octagon in the 
centre is outlined with an abbreviated floral arabesque in red, buff, green, two 
tones of blue, and white, outlined in brown. Within it is a concentric octagon, 
with a violet ground, on which is superimposed a composite form which sug¬ 
gests a triple lozenge, the outer one in white outlined in red, the intermediate 
one in blue, and the inner one in red, outlined in brown. In the centre is a 
geometric motif in green enclosed in a wreath made up of white leaves and a 
brown stem. The lozenge shapes at the ends of the rug are filled with large 

151 


BALLARD COLLECTION 


palmette motifs in white, blue, buff, red, violet, and brown, on the red ground 
of the field. The outlines of the lozenges are wide bands, with serrated edges, 
decorated with floral arabesque motifs. Half the lozenge has the band in blue, 
outlined in red, white, and brown, with the other half in white, outlined in red, 
blue, and brown. At the extreme ends of the field appear the tips of medallions 
with blue grounds. The so-called dragon at the sides is buff, outlined in red, 
blue, and brown, with the central portion in brown outlined in blue. In each 
of the four corners of the rug are portions of what may be another dragon 
motif. CThe main border is decorated with prominent rosettes, alternating in 
blue and violet, outlined in red, on a buff ground. The blue rosette is associated 
with a light linear spray conforming to an angulated reverse curve; the violet 
rosette is superimposed on crossed reverse curves. CThe inner border is blue, 
decorated with two geometric motifs in red. Dark guard lines flank this 
border. CThe outer border has the same design as the inner border. The 
ground is red, and the motif is in brown, with a white centre. (TAt the ends 
this border has been partially worn away. Ballard Collection, No. 84. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


SYRIAN RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 82 

Sehna knot, J2-8l to the sq. in.: 8-9 vert.; 9 hor. [5 ft. 6 in. by A ft.'] 

Down the centre of the rectangular field, which is outlined in red, are three 
hexagonal areas, also in red, decorated in the centre with an elaborate star form 
which is surrounded by radiating tree forms, in blue, enhanced with spots of 
red and white and separated by floral forms in green, blue, and red. The tri¬ 
angles flanking the hexagons are outlined in brown and white and decorated 
with an indefinite allover pattern, probably floral, in blue, green, and white. 
Red lines cross the field at the junctions of the hexagons. At one end is a rect¬ 
angular panel containing two rhomboidal forms, and similar to the rest of the 
field. CThe main border is decorated with tile forms in blue, outlined in 
white, alternating with a small cartouche in light green, outlined in red. The 
decoration of these areas is floral. The pattern is completed by the introduc¬ 
tion of leaf forms, in red, emanating from the tops and bottoms of the tile 
forms, and floral sprays, in white and violet, emanating from the tops and bot¬ 
toms of the cartouches. The ground is a light green. CThe inner and outer 
borders are identical, decorated with a running vine, in brown, embellished 


U2 


OF ORIENTAL RUGS 



Dragon Rug of the Seventeenth Century No. 81 






BALLARD COLLECTION 



Syrian Rug of the Sixteenth Century 


No. 82 












OF ORIENTAL RUGS 


with white flowers and red leaves. Guard stripes are on the inner edges only 
and are made up of a close pattern of red and white spots. 

Ballard Collection, No. 85. 

Illustrated: Special Loan Exhibition, Carnegie Institute, 1923. 

Exhibited. Pennsylvania Museum, Philadelphia, 1919The Cleveland Museum of Art, 
19191 Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indian¬ 
apolis, 1924. 


RUG OF THE EIGHTEENTH CENTURY. 

[asia minor] No. 83 

Ghiordes knot, JJ-QI to the sq. in.: 11-13 vert.; J hor. [6 ft. by 4 ft. Q in.] 

The field is elaborately decorated with various kinds of motifs. In the centre 
is a yellow lozenge with two points terminating in an ornamental form like an 
incense burner with handles and cover. The yellow lozenge has a red diamond 
form in the centre, from the four points of which radiate plant forms in brown 
terminating in leaves in red and brown. Around the lozenge and following its 
general outline is a blue stem motif broken by flower forms in blue, red, brown, 
and white. Small detached geometric forms are introduced into this part 
of the design. Surrounding this pattern are yellow areas connected by a nar¬ 
row band, and decorated with red arabesques. In the corners of the field are 
composite geometric units in violet and green decorated with unidentified 
motifs, in red or white. Down the sides are other geometric forms in varying 
color schemes. A continuous hook motif in red is used as a partial border 
scheme for the field. The color of the field varies from dark to light brown. 
CThe main border is decorated with unidentified forms, highly conventional¬ 
ized, the color of which is two tones of red, yellow, green, violet, brown, and 
white, on a blue ground. GA narrow white inner border, outlined with a brown 
line and a green and red spotted line, has as a decoration an S chain design in 
brown, red, yellow, blue, and violet. CA narrow outer border duplicates the 
inner border. At one end is an extra, wide border with a rich red ground, on 
which is a row of detached palmette forms in red, rose, yellow, green, blue, or 
violet. At the other end is another extra border, somewhat narrower and deco¬ 
rated with a conventionalized rosette motif in two tones of red, yellow, green, 
blue, violet, and white, outlined in brown, regularly spaced, and separated by a 
rectangular unit in red. CThere is a short fringe at each end. If the history 

155 


BALLARD COLLECTION 



Asia Minor Rug of the Eighteenth Century 


No. 83 
































OF ORIENTAL RUGS 


of this rug were known it might be found that it came from the Caucasus, 
although it is also possible that it is an Asia Minor rug. 

Ballard Collection, No. 88. 

Illustrated: Special Loan Exhibition, Pennsylvania Museum, /p/p. 

Exhibited: Pennsylvania Museum, Philadelphia, rprp; Carnegie Institute, Pittsburgh, 
I 9 2 3 i The John Herron Art Institute, Indianapolis, 1924. 

KILIM PRAYER RUG OF THE NINETEENTH CENTURY. 

[ASIA MINOR] NO. 84 

Kilim weave, 10-12 warp threads to the lineal inch. \_6 ft. I in. by 5 ft. I in.] 

The field is green and forms a niche, down the centre of which is a band in old 
rose. The upper portion of the band is woven in gold thread. Near the base of 
the niche are two large elaborate forms, probably inverted mosque lamps. The 
sides and base of the niche are decorated with a double hook pattern in red. 
The flank of the corbeled arch is outlined in red and gold. The spandrel is old 
rose, decorated with flower and stem motifs in red, gold, green, and violet, and 
pairs of reverse curves woven in gold and brown fill the interstices of the 
ground. At the lower corners of the spandrel is a composite form made up of 
a rectangle and a double hook motif, in green, violet, and gold. Across the top 
of the spandrel is a row of eight-pronged polygons in green, blue, and violet, 
forming with the rose background of the spandrel a reciprocal pattern. CThe 
main border is yellow, decorated with two units; one a conventionalized flower 
form, perhaps the lily, in various color combinations of red, rose, green, blue, 
violet, and brown, and the other a pronged motif in the same varied color com¬ 
binations. The border is flanked along the sides by a light brown battlemented 
line, and across the ends by a thin brown line. CThe inner border is dark blue 
decorated with a composite form made up of a rectangle and double hook 
motifs in various combinations of red, rose, green, two tones of blue, and white. 
This decoration changes across the end to indeterminate forms, in the same 
color scheme. A white battlemented line guards this border along the sides, 
changing at the end to a thin white line. CThe outer border is also blue, deco¬ 
rated with a detached unidentified form in red, rose, and white across the ends, 
and rose and blue down the sides, with a white or red unit interpolated at 
irregular intervals. It is guarded by two white battlemented lines, and pro¬ 
jecting from the outer white line is a hook pattern on a red ground. 

Ballard Collection, No. 89. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


U7 


BALLARD COLLECTION 





♦Tl 


Iff' 


|f|l 



Kilim Pray er Rug of the Nineteenth Century No. 84 



































OF 0RIENTAL RUGS 



Asia Minor Rug of the Sixteenth Century 


No. 8$ 






































BALLARD COLLECTION 



Asia Minor Prayer Rug of the Sixteenth Century No. 86 















OF ORIENTAL RUGS 


RUG OF THE SIXTEENTH CENTURY 

[ASIA MINOR] ' Nq g 

Ghiordes knot, 72-80 to the sq. in.: Q-10 vert.; 8 hor. [5 ft. I in. by 4 ft. 5 in.] 

The field is decorated with a double-bar-and-three-ball design, which has come 
to be known as the mark of Tamarlane. The double bar is in yellow and blue, 
or red and blue, outlined in brown, and the balls are in varying combinations 
of red, yellow, and two tones of blue, also outlined in brown. The field is a 
deep cream color. CThe border has the same ground as the field, and is deco¬ 
rated with cloud bands in blue or red alternating with a light yellow rosette. 
The cloud bands and rosettes are connected by a stem running in a general 
Zl g za g li ne throughout the border and supporting highly conventionalized 
leaves and floral forms. CThe inner border is decorated with an S chain pattern 
in brown and red, on a ground similar in color to the field and border. For a 
short distance on one side this design is simplified. The border is flanked with 
brown guard lines. On the inner edge is a blue line which extends around the 
field. CThe outer border is identical, and a blue line surrounds the entire rug. 
The original selvedge appears at the sides, and a short warp extends beyond 
the pile, ending in a fringe. Ballard Collection, No. 91. 

Exhibited: The Art Institute of Chicago, 1922; San Francisco Art Association, 1923; 
Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indianapolis, 1924. 


PRAYER RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 86 

Ghiordes knot, 64-81 to the sq. in.: 8-Q vert.; 8-Q hor. [6 ft. by 4 ft. I inl\ 

This rug has a triple arch, with two supporting piers with attached columns, 
and two pilasters, on a beautiful rich creamy background. The pitched arches 
are outlined with red and brown lines. The piers have engaged columns, in 
red and yellow, and are decorated with a lozenge pattern, also in red and yel¬ 
low. The bases are drawn in partial perspective and between them are three 
formal pomegranate motifs. The capitals are red, blue, and yellow, with heavy 
tops of red, blue, or green, and the abaci are outlined with a red and white 
close-spotted line enclosing a yellow ground, on which are red quatrefoils, or a 
red ground with blue quatrefoils. Above the abaci the spandrel begins with a 
column-like area which spreads out into the main spandrel. The spandrel is 
decorated with a diaper pattern in white enclosing red and yellow double 
pointed forms. Across the top of the spandrel the diaper pattern changes some- 

161 


BALLARD COLLECTION 


what to a rectilinear pattern. The panel above the spandrel is decorated with 
the so-called arrow-head forms with conventionalized plant motifs projecting 
from them, and placed intermediately are similar plant forms. The arrow¬ 
heads are outlined in red, brown, and white and enclose blue and yellow 
grounds on which are unidentified forms in red, green, blue, and white. The 
plant forms above the arrow-heads are in red, yellow, green, and two tones of 
blue, on a creamy ground. This design is somewhat similar to the panels of 
Ladik rugs. Separating the panel from the spandrel is a very narrow border 
of close-fitting red and white spots, flanked with blue lines. CThe main bor¬ 
der is decorated with medallions, in blue or green, with yellow and red decora¬ 
tion, or yellow, with blue and green decoration. They are joined by a thin 
white line and between them are halves of octagons enclosing half of an eight- 
pointed star, in the same color scheme as the medallions. The ground of the 
border is a rich red. CThe inner border is yellow, decorated with the so-called 
“curl” pattern, in red and white, flanked by a blue line which changes to brown 
at one side. CThe outer border has the same design as the inner border, but 
the background is a creamy white and the curl pattern is in red and yellow, the 
yellow being replaced by green at both ends. C.A green silk fringe has been 
added at each end. Ballard Collection, No. 92. 

Exhibited: Pennsylvania Museum, Philadelphia, 1919; Carnegie Institute, Pittsburgh, 
1923; The John Herron Art Institute, Indianapolis, 1924. 


RUG OF THE SIXTEENTH CENTURY. 

[asia minor] No. 87 

Ghiordes knot, 80-QO to the sq. in.: 8-Q vert.; IO hor. [5 ft. Q in. by 4 //.] 

The yellow field is decorated with palmette, rosette, and lily forms. The main 
unit of decoration is two large palmettes and two lily sprays, radiating from a 
small central leaf unit, and interspersed with a highly conventionalized ro¬ 
sette. The pattern is arranged so that the large palmettes form a row down the 
centre of the rug and the rosettes repeat at the right and left, alternating with 
a lozenge-like composite design made up of what seem to be shaded lanceolate 
leaves and a rosette enclosed in a diamond. The color scheme is two tones of 
red, yellow, buff, blue, violet, and white, with brown generally used as an out¬ 
line for the motif. CThe main border is decorated with detached rosettes in 
varying color combinations of rose, yellow, blue, violet, brown, and white, 
outlined in brown, on a red ground. CThe inner border is decorated with an 
overlapping reverse curve motif in brown, with yellow and blue centres and 
white tips. The ground of the border is yellow, and it is flanked with a white 
line, which in turn is flanked by brown lines. CThe outer border has a reverse 


162 


OF ORIENTAL RUGS 



Asia Minor Rug of the Sixteenth Century 


No. 87 


























BALLARD COLLECTION 



Asia Minor Rug of the Sixteenth Century No. 88 















































OF ORIENTAL RUGS 


curve motif in red, on a yellow ground. It is flanked with red, white, and 
brown lines. At the ends the warp has been frayed to the edge of the border. 

Ballard Collection, No. 93 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


RUG OF THE SIXTEENTH CENTURY. 

[ASIA MINOR] NO. 88 

Ghiordes knot, 80 to the sq. in.: 10 vert.; 8 hor. [6 ft. 10 in. by 3 ft. 4 in .] 

This rug has been woven with the short axis of the design vertical on the loom, 
which is contrary to the usual arrangement. As a result, the fringe, which is 
usually at the ends, is in this case at the sides of the rug. The field is decorated 
with the points of six large palmettes projecting from the sides of the field 
onto a yellow ground. Separating them are four smaller palmettes, in yellow, 
and two rosettes guarded by lanceolate leaves. The large palmettes are red, 
yellow, blue, and buff, and the small palmettes are buff, outlined in brown, 
with yellow or blue centres. One rosette is red with a blue centre, and the other 
buff with a yellow centre. CThe main border has a red ground upon which 
are cartouche-like areas alternating blue and yellow, each decorated with a red 
tree or plant form emanating from a yellow quatrefoil. Between the cartouches 
are halves of octagons enclosing halves of eight-pointed stars, alternating in 
blue and yellow. CThe inner border is decorated with a running vine pattern 
in blue, outlined in violet, on a yellow ground, enhanced by spots of red. The 
guard lines are yellow and brown. There is an extra red line surrounding the 
field. CThe outer border is the same, except that the vine is red, enhanced 
with spots of yellow. The guard lines are yellow flanked with red and purple. 

Ballard Collection, No. 94. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE CAUCASIAN GROUP 

The territory whence these rugs come lies to the north and south of the Caucasus Moun¬ 
tains between the Caspian and the Black Seas. The colors of the rugs are somewhat 
crude, but not unpleasant, with madder red and indigo blue often used as a basis of 
the color schemes, together with white or natural colored wool. The designs have a 
primitive-like character, and geometric and conventionalized motifs are used by prefer¬ 
ence. Naturalistic forms are exceedingly rare. A reciprocal or counterchange pattern is 
common in the subsidiary borders. The pile is often long and lustrous, and the weaving 
of the rug is somewhat coarse, due to the small number of knots to the square inch. 


165 


BALLARD COLLECTION 



Caucasian Rug of the Sixteenth Century 


No. 89 








OF ORIENTAL RUGS 


RUG OF THE SIXTEENTH CENTURY. 

[CAUCASUS] No. 89 

Ghiordes knot, 34-60 to the sq. in.: Q-IO vert.; 6 hor. [7 ft. Q in. by 3 ft. 6 in.] 

The field of this rug presents an interesting color scheme. The ground is a 
varied blue, made from indigo, and is decorated with an arabesque in red, 
made from madder. The central medallion is outlined in brown and red, and 
decorated with an arabesque in brown and blue with touches of white and red. 
Two pendent forms project from two ends. The ground of this medallion is an 
interesting light brown, said to be produced from the juice of the buckthorn 
berry. Dark brown has been substituted for blue in two corners of the field. 
CThe border has a white or natural colored ground. Violet or brown car- 
touches of varying shapes are placed at regular intervals in connection with an 
angulated arabesque in red, blue, and brown. CThe inner border is a recip¬ 
rocal trefoil pattern in light and dark brown. It is guarded by red stripes. 
CThe outer border has a brown ground on which originally was a complete 
geometric form in blue, only half of which is now visible. The complete bor¬ 
der may be seen at each end. ([There is a fringe of warp threads at each end. 
Formerly in the Jacoby Collection. Ballard Collection, No. 16. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


BAKU RUG OF THE SEVENTEENTH CENTURY. 

[CAUCASUS] NO. 90 

Ghiordes knot, 7 2-81 to the sq. in.: 8 -Q vert.; Q hor. [5 ft. J in. by 3 ft. 3 in.] 

The dark blue field is elaborately decorated with various motifs. In the middle 
of the rug is a medallion with angulated sides and a white ground. In the very 
centre of this medallion is a rosette in red, blue, white, and green, outlined in 
brown. Two smaller rosettes and small detached floral forms complete the 
decoration. A series of outlines in brown, buff, dark blue and red, and light 
blue and red, encloses the medallion. It has a fringed edge in red and green. 
Detached pear-shaped forms in various schemes of red, yellow, buff, two tones 
of blue, brown, and white, surrounded by small flower forms, decorate the 
field. In the four corners of the field are quadrants of a medallion with design 
and outlines similar to the central medallion. CThe main border has a light 
blue ground decorated with red rosettes, outlined with buff, and unidentified 
forms, connected by a red line. The motifs, other than the rosettes, are in red, 
buff, blue, black, and white. This border is flanked by buff lines. CThe inner 

167 


BALLARD COLLECTION 



Baku Rug of the Seventeenth Century 


No. go 















OF ORIENTAL RUGS 



Kuba Rug of the Seventeenth Century 


No. QI 




























BALLARD COLLECTION 


border is red, decorated with a running vine in black, with flowers in two tones 
of blue and white. It is guarded by black lines. CThe outer border is identical 
with the inner border. Ballard Collection, No. 86. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KUBA RUG OF THE SEVENTEENTH CENTURY. 

[CAUCASUS] No. 91 

Ghiordes knot, 49-64 to sq. in.: J-8 vert.; J-8 hor. [12 ft. J in. by 6 ft. 3 m.~\ 

The blue field is decorated with rows of medallions, eight-pointed star-shaped 
forms, palmettes, and four tripods, interlaced with arabesques. The color com¬ 
binations are many but the general scheme includes red, two tones of yellow, 
light blue, violet, black, and white, on a blue ground. Green is absent except at 
one end, where it has not only been introduced in the tips of the last two star¬ 
shaped forms but also in the border. This introduction of green at the end of 
the border makes visible the linear motif of the border design which otherwise 
would be almost lost, due to the fact that it is in a tone approximating the yel¬ 
low of the ground. The faintness of this linear motif accentuates the other two 
motifs of the border, which are an unidentified form in blue, violet, brown, and 
white, placed at regular intervals in counter-changed order, and an alternating 
octagon in white, outlined in brown. Flanking the main border are two sub¬ 
sidiary borders with white grounds, both decorated with a geometric pattern, 
the main figure of which alternates in red and brown. The guard stripes are in 
solid color, two in blue, flanked with brown, and two in red, also flanked with 
brown. There is a short fringe at each end. Ballard Collection, No. 87. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


KAZAK RUG OF THE EIGHTEENTH CENTURY. 

[CAUCASUS] No. 92 

Ghiordes knot, 63 to the sq. in.: Q vert.; 7 hor. \_6 ft. Q in. by 5 ft- 8 in.~\ 

In the centre of the rug is an octagon with a white ground. On it is a central 
octagonal panel, in red, decorated with hook motifs in green and blue and two 
smaller red octagons decorated with geometric forms in red, yellow, green, 
dark blue, and white. The rest of the white octagon is decorated with large 
hook motifs, in dark blue and red, and multi-colored small detached forms. It 


170 


OF ORIENTAL RUGS 



Kazak Rug of the Eighteenth Century 


No. Q2 


















BALLARD COLLECTION 


is outlined with a heavy blue and red line which forms a reciprocal triangular 
pattern on two sides of the octagon. Surrounding it is a rectangle, outlined 
with a red and yellow spotted line and decorated with a checkerboard pattern 
in red and blue. The rest of the field has a green ground and is decorated with 
four prominent rectangles outlined in red, with a white ground decorated with 
eight-pointed stars in red, yellow, green, and two tones of blue. Other rect¬ 
angles, with red, yellow, or dark blue grounds, support scroll motifs in blue, 
white, and yellow. These scroll motifs, in the same color scheme but without 
the rectangular background of solid color, extend down the sides and across the 
ends of the field. The rest of the green ground is dotted with a very small red 
and white geometric form. CEOn the yellow ground of the main border is a 
conventionalized serrated leaf with joined stems, forming a diagonal pattern. 
The leaves guard an open rosette form, and small geometric forms fill up the 
intervening spaces of the ground. The color scheme is red, green, two tones of 
blue, white, and brown, on a yellow ground. ([The inner border has a recipro¬ 
cal lozenge pattern in red and white, outlined in purple. It is flanked by heavy 
blue lines, also outlined in purple. ([The outer border is the same as the inner 
border, and its guard stripes are the same as the inner guard stripes. There is 
a short web at each end. The pile is exceptionally long, making a thick, 

heavy rug. Ballard Collection, No. 90. 

Exhibited: Carnegie Institute, Pittsburgh, .1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE CHINESE GROUP 

Rugs from China generally have a delightful characteristic, quickly recognized, of a field 
of buff, yellow, or light orange, with contrasting dark and light blue tones almost inevi¬ 
tably associated with it. The simplicity of Chinese rugs differentiates them materially 
from other groups of the Orient. A two-toned color scheme is universally used and a 
single motif, or two motifs only, is used consistently throughout the rug, even though it 
be of courtly size. Favorite motifs are floral forms, especially the peony; animal forms, 
especially the dragon or hydra; the running fret, or meander pattern; the swastika; and 
various characters. The Sehna knot is used and the pile is always soft, thick and long. 


RUG OF THE EIGHTEENTH CENTURY. 

[CHINA] NO. 93 

Sehna knot, JO-jd to the sq. in.: ff-6 vert.; 6 hor. [/2 ft. by 12 //.] 

The yellow-orange ground of the field of this large rug is decorated with five 
medallions, and with large floral forms on a leaf scroll motif suggesting a 


172 


OF ORIENTAL RUGS 



Chinese Rug of the Eighteenth Century 


No. Q3 

























BALLARD COLLECTION 



Chinese Rug of the Eighteenth Century 


No. Q4 










OF ORIENTAL RUGS 


trellis. A circular medallion in the centre is outlined in yellow and has a bor¬ 
der of conventionalized flower sprays in warm buff and yellow. The centre is 
decorated with a symmetrical conventionalized flower design in two tones of 
blue, yellow, warm bulf, and white. In the four corners of the rug are some¬ 
what smaller but similar medallions. The large flower motifs supported by the 
leaf scrolls are conventionalized peonies in two tones of blue, yellow-orange, 
warm buff, and white. They are disposed around the central medallion in the 
general outline of a lozenge. The trellis-like leaf scroll is in dark blue. This 
is a fine example of irregular balance in design. Parts of the pattern are bal¬ 
anced one against the other but often the balance is suggested rather than actu¬ 
ally developed. GThe main border is decorated with a conventionalized peony 
scroll in yellow, orange-yellow, and buff, alternating with the hydra fret, the 
central motif of which is a realistic hydra’s head. CtThere is an inner border 
decorated with a salmon-colored meander fret. It has light and dark blue 
guard lines on one side and light blue and white guard lines on the other. CE At 
the outer edge of the main border are four plain lines, two in yellow, one in 
yellow-orange, and one in warm buff. A plain blue border surrounds the rug. 
At each end is a short fringe of warp threads. This rug is purported to have 
come from the Imperial Palace at Peking and its dignity and beauty, its im¬ 
perial yellow and royal blue would designate it as a rug of courtly importance. 

Ballard Collection, No. 99 . 

Exhibited : The John Herron Art Institute, Indianapolis, 1924. 


RUG OF THE EIGHTEENTH CENTURY. 

[china] No. 94 

Sehna knot, 30-42 to the sq. in.: 6 vert.; 5-7 hor. [8 ft. 6 in. by 5 ft. J in.] 

The field of this rug is decorated with five circular medallions outlined in blue 
and buff with a border of conventionalized peony sprays in two tones of blue 
and buff. In the centres are two hydras in dark blue, light blue, and buff, except 
in the central medallion, which has a highly conventionalized floral motif re¬ 
placing the hydras. Over the surface of the field is a flower scroll in yellow, 
on a warm buff ground, with the flowers now and then in white, or blue and 
white. The arabesque is so nearly the color of the ground that it is only in cer¬ 
tain lights that it can be seen to advantage. CThe border is decorated with a 
leaf and flower scroll, with the flower in two tones of blue and buff and the leaf 
scroll in two tones of blue, on a yellow ground. It is guarded on each side by 
four stripes, one dark blue, one light blue, and two white. On the outer edge 
Of the rug is a wide brown border. Ballard Collection, No. 100. 

Exhibited : The John Herron Art Institute, Indianapolis, 19-4- 

175 


BALLARD COLLECTION 



Chinese Rug of the Eighteenth Century 


No. Q5 


















OF ORIENTAL RUGS 


RUG OF THE EIGHTEENTH CENTURY 

[CH'NA] • N09S 

Sehna knot, 36-42 to the sq. in.: 6-J vert.; 6 hor. [j ft. I in. by 4 ft. 10 in.] 

The field is buff, and in the centre is a circular medallion with a cloud motif 
border. Within the medallion is a conventionalized peony spray. Detached 
sprays of citron, peach, pomegranate, plum, and lotus are placed on the field 
in the general outline of an oval. In each of the four corners is a peony scroll 
motif. The color scheme is two tones of yellow, two tones of blue, and white, 
on the buff ground. UThe main border is yellow and is decorated with a con¬ 
tinuous peony scroll in the same color scheme as the field. ([The inner border 
is dark blue, and on it is a continuous yellow fret. This border is flanked with 
light blue lines. (I At the outer edge of the rug is a dark blue marginal border, 
with a light blue line. Ballard Collection, No, 101. 

Exhibited. Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


SADDLE COVER OF THE EIGHTEENTH CENTURY. 

[CHINA] NO. 96 

Sehna knot, 36 to the sq. in.: 8 vert.; J hor. [4 ft. Q in. by 2 ft. 3 in.] 

On the dark blue ground are two circular medallions decorated with peony 
flowers and leaves in yellow, rose, and white, with a single flower in the centre 
embellished with blue, on a “taupe” ground. At the fold of the saddle cloth 
is a bisymmetrical design in yellow, outlined in rose and “taupe.” Separating 
the blue field from the inner border is a blue and a white line. CThe inner 
border is decorated with a reciprocal trefoil pattern in brown and rose. Sepa¬ 
rating the inner and outer borders is a light blue and a dark blue line. ([The 
outer border is decorated with a swastika fretwork pattern in yellow and 
“taupe.” Separating the outer border from the solid marginal brown stripe 
which surrounds the saddle cloth is a light blue and a dark blue line. CThe 
cloth is wider at the ends than in the middle and two of the end corners are 
scalloped. The two borders follow the general contour of the cloth. 

Ballard Collection, No. 102. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


1 77 


BALLARD COLLECTION 



Chinese Saddle Cloth of the Eighteenth Century 


No. qO 



Chinese Rug of the Eighteenth Century No. q8 
















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OF ORIENTAL RUGS 
















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Chinese Rug of the Eighteenth Century No.QJ 

















































































BALLARD COLLECTION 


RUG OF THE EIGHTEENTH CENTURY. 

[china] No. 97 

Sehna knot, 36-49 to the sq. in.: 6-J vert.; 6-J hor. \_4 ft. 6 in. by 2 ft. 3 in .] 

In the centre of the rug is a circular design in blue, including a Chinese char¬ 
acter as a central motif. Surrounding it are four peony flowers and four small 
swastikas in blue, on the red ground. Short straight lines in blue running hori¬ 
zontally and vertically complete the pattern of the red field. At each end is a 
rock and wave pattern in three tones of yellow, and two tones of blue. Small 
circular spots representing spray complete the design. 

Ballard Collection, No. 103. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


SMALL MAT OF THE EIGHTEENTH CENTURY. 

[china] No. 98 

Sehna knot, 30-36 to the sq. in.: 3-6 vert.; 6 hor. [j>/ in. by 29^. inf] 

Surrounding the rug is a border made up of a fretwork in brown forming a 
swastika interlined with white, with the character for longevity in two tones of 
yellow introduced at the four corners. Flower forms in yellow and blue are 
integral parts of the fretwork pattern of the border. Flanking the border are 
two brown stripes decorated with large white spots placed at regular intervals. 
The border encloses a rectangle outlined in blue and white with four peony 
motifs in white, buff, blue, and brown, at the four corners. In the centre of the 
mat is a circular medallion decorated with the peony in blue, buff, brown, and 
white, on the yellow ground. At the outer edge is a marginal border of a wavy 
yellow line, with the undulations filled with brown. Ballard Collection, No. 106. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


THE MISCELLANEOUS GROUP 

These rugs, because of their miscellaneous character, do not as a whole present any pre¬ 
vailing or consistent characteristics, but the group includes rugs which, with their pre¬ 
dominating red tones and their somewhat sombre aspect, are distinctly characteristic of 
Central Asia. One rug from Spain with its Oriental motifs is in a class by itself, as are 
also the so-called Damascus rug, with its linear geometrical pattern which could also 
be easily damascened in metal, and the so-called Polonaise rug with its delicate color 
and pattern, which in other examples of this type are so often enhanced by metal threads. 


180 


OF ORIENTAL RUGS 





■ 


1} ■ *i •*** ■ • *■' 






a^WCOCs 


Polonaise Rug of the Seventeenth Century 


No. QQ 


>aic. 
















BALLARD COLLECTION 


RUG OF THE SEVENTEENTH CENTURY. 


[SO-CALLED POLONAISE] 

208-221 to the sq. in.: IJ vert.; 16-IJ hor. 


No. 99 

\_4 ft. II in. by J ft. 8 in.~\ 


The field of this rug is worn but the design is still visible, seen more clearly in 
the reproduction than in the rug itself. On the mauve-colored ground of the 
field palmettes in yellow, green, two tones of blue, and white are joined by 
arabesques in yellow, green, and two tones of blue. CThe border has a green 
ground on which is a lanceolate leaf and palmette motif joined by a vine em¬ 
bellished in the centre with a flower and leaf form. Interesting carefully 
designed corner motifs make the pattern of this border a continuous harmoni¬ 
ous whole. At the centres of each side of the rug a modification of the unit of 
the design has been introduced. C A narrow stripe surrounds the rug. It is 
made up of a reciprocal pattern of a two-pronged motif in blue and mauve. 
The same motif, in mauve and yellow, was used on an inner stripe which sur¬ 
rounds the field, but is not now easily seen. From the Brayton Ives Collection. 


Ballard Collection, No. 3. 


Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


RUG OF THE SIXTEENTH CENTURY. 

[SO-CALLED DAMASCUS] 


No. IOO 


Sehna knot, 144-169 to sq. in.: 12-1J vert.; 12-1A hor. [6 ft. 4 in. by 4 ft. 6 in.~\ 

The allover pattern of this rug with its predominating blue, red, and green 
gives a purple sheen and variety of pattern which is unique and interesting. In 
the centre is an octagonal medallion with a red ground, outlined in green, 
decorated with curious motifs in green, segregated in quadrants by a double 
blue line. Around the medallion is an octagonal border. It has a convention¬ 
alized pattern in blue, perhaps a leaf motif, and a vine regularly spaced in 
close order, on a red ground. On the eight sides of the octagon equilateral 
triangles form an eight-pointed star, interrelated with the central unit, and 
beyond, within the borders of a square, equilateral triangles, parallelograms, 
irregular polygons, and other planes are defined by blue lines decorated with 
various patterns in blue on a red or yellow-green ground. CTwo narrow bor¬ 
der stripes, one decorated with circular flower motifs in yellow-green and blue, 
on a red ground, and the other with a running leaf motif in blue, on a red 
ground, surround the field. Six squares, three at each end of the rug, complete 
the pattern of the field. They are decorated with radial designs of various 


182 


OF ORIENTAL RUGS 



m§I mm 

$0.<z 


So-called Damascus Rug of the Sixteenth Century No. IOO 










BALLARD COLLECTION 



Spanish Rug of the Fifteenth Century 


No. IOI 














OF ORIENTAL RUGS 


motifs in red, yellow-green, and blue. The main border is made up of a long 
cartouche-like area outlined in yellow-green, alternating with a small circular 
medallion. The cartouche is decorated with a latticed flower pattern in yellow- 
green and a central circular motif in red and blue. The medallion has a red 
ground and a geometric motif in yellow-green and a small central flower motif 
in blue or yellow-green. The ground of the border is blue and between the car¬ 
touche and the medallion is a small red line decoration. CThe inner border is a 
double stripe, one stripe decorated with a circular flower motif in yellow-green 
and blue, on a red ground, and the other a running leaf motif in blue, on a red 
ground. They are flanked with blue guard lines. CThe outer border is the 
same as the inner one. A red, blue, and green fringe has been added at the ends. 

Ballard Collection, No. 12. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


SPANISH RUG OF THE FIFTEENTH CENTURY. No. ioi 

Ghiordes knot , 120-132 to sq. in.: IO-II vert.; 12 hor. \_Q ft. by 5 ft- I iw.] 

Covering the entire field of the rug are octagons in squares. The squares are 
defined by borders crossing each other at right angles and decorated with rect¬ 
angular units composed of a modified reverse curve and two angular fillers to 
complete the rectangle. These are repeated in regular order in red, outlined 
in brown, on a white ground. The design has the appearance of a zigzag pat¬ 
tern. CThe border is flanked by a white guard stripe of brown and white 
spots. The octagons have a decoration in the centre of a star-shaped form, in 
blue and red, or red and green, surrounded by a white or yellow area. Project¬ 
ing from the eight sides of the octagon are trefoil forms in blue or green, deco¬ 
rated with red. The field of the octagon is red, and an inner border of blue or 
green is decorated with small squares in red and white in groups of three; an 
outer border of yellow, is decorated with blue panels, outlined in red, with 
varying motifs in white, and, intermediately, are hooked motifs in red. The 
triangles in the four corners of the square are decorated with a zigzag line in 
yellow, interrelated with red and green. Across the base of the triangles is a 
sawtooth red line which continues as a straight line, constituting the outline of 
the octagon. At the intersection of the border, down the centre of the rug, four 
of the triangle forms merge to form a lozenge, which adds to the variety of the 
pattern of the rug. Ballard Collection, No. 83. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


■85 


BALLARD COLLECTION 



No. 102 


Bokhara Rug of the Eighteenth Century 















OF ORIENTAL RUGS 


BOKHARA RUG OF THE EIGHTEENTH CENTURY. 

[CENTRAL ASIA] NO. 102 

Sehna knot, 143-163 to sq. in.: 13-13 vert.; II hor. [8 ft. 2 in. by J ft. I in.] 

The red of this field is that of the best Bokharas. It is decorated with four 
parallel rows of medallions connected by heavy blue vertical and horizontal 
lines running through their centres, dividing each medallion into quarters. In 
the very centre of each medallion is a small star-shaped form in red and buff 
surrounded by a large star form alternating in red and green, or red and blue, 
and decorated with single small flower forms. The rest of the medallion is 
decorated with hook or flower motifs in red outlined in brown, on an orange- 
red or buff ground. Between the rows of medallions are pointed geometrical 
forms in green or blue embellished with red, orange-red, and buff. CThe bor¬ 
der is made up of octagonal medallions decorated with four star-shaped flower 
forms, in red and blue, or red and green, on a red, a dark blue, a green, or a 
white ground. Between the medallions, the design includes varying combina¬ 
tions of geometric forms which are never twice alike except across the ends 
where a new motif, a lozenge design, is introduced and repeated in regular 
order. Two stripes flank this border. Both are decorated with a reciprocal 
hook motif in red, yellow, green, dark blue, or white. A long red web extends 
beyond the pile at each end. Ballard Collection, No. 95. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. , 


BELUCHISTAN MAT OF THE NINETEENTH CENTURY. 

[CENTRAL ASIA] No. 103 

Sehna knot, 134-163 to sq. in.: 14-13 vert.; II hor. [2 ft. Q in. by 2 ft. 4 in.] 

The field of the mat has a very dark blue ground on which are rectangularized 
animal forms, in red and brown, with the central one in white, red, and brown. 
The main border has a white ground decorated with what appears to be a 
highly conventionalized tree form in red, brown, and dark blue. The guard 
stripes are decorated with a reciprocal trefoil pattern in red and brown out¬ 
lined with dark blue. Lines of light red spots flank them. There is a web at 
both ends, and tassels at the corners and in the centre of the sides. 

Ballard Collection, No. 96. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 

187 


BALLARD COLLECTION 



Beluchistan Mat of the Nineteenth Century 


No. 103 





























OF ORIENTAL RUGS 



Afghan Rug of the Eighteenth Century No. 104 











BALLARD COLLECTION 

AFGHAN RUG OF THE EIGHTEENTH CENTURY. 

[CENTRAL ASIA] NO. 104 

Ghiordes knot, 36-49 to the sq. in.: 6 -J vert.; 6 -J hor. [6 ft. by 3 ft. II in.~\ 

The field of this rug is a rich red, and in the centre is a lozenge-shaped medal¬ 
lion with angulated sides defined by a narrow red border flanked with brown. 
The centre of the lozenge is a hexagon in two tones of red, decorated with a 
floral form in red, green, and violet. Surrounding it are four compartments 
outlined in blue and violet enclosing tree motifs, in red and blue, or red, blue, 
green, and purple. A green border follows the general outline of the lozenge 
and supports a projected double hook motif in red and purple. Pendent from 
the pointed ends of the medallion are two smaller medallions in red and green, 
terminating in a double hook. Around the central medallion are stiff conven¬ 
tionalized forms, perhaps tree motifs, in blue, brown, and red, or green, brown, 
and red. In the four corners of the field are quarters of a medallion, outlined 
with purple and red, and decorated motifs in red, yellow, green, and purple, 
on a vari-toned blue ground. CTThe border has the same ground as the field 
and is decorated with a six-pronged motif in red, light blue, green, violet, and 
brown. The guard stripes are composed of S-like motifs in red and violet, out¬ 
lined in purple. The warp extends beyond the pile in a short fringe at each end. 

Ballard Collection, No. 98. 

Exhibited: The Cleveland Museum of Art, ipip; Metropolitan Museum of Art, 1921; 
The Minneapolis Institute of Arts, 1922; Carnegie Institute, Pittsburgh, 1923; The John 
Herron Art Institute, Indianapolis, 1924. 


SAMARKAND RUG OF THE EIGHTEENTH CENTURY. 

[CENTRAL ASIA] No. 105 

Sehna knot, 4 2 ~ 5 & to the sq. in.: 6 -J vert.; J-8 hor. [<? ft. 6 in. by 3 ft- 8 fra.] 

The dark blue field is decorated with an allover spray pattern in red and light 
blue. The design of the field is divided into two parts, each emanating from a 
small vase and forming a pattern which suggests the “tree of life.” Down the 
centre of the rug is a line of the blue field. CThe main border is decorated 
with a modified trefoil in red, outlined in white and brown, on a light blue 
ground. CTThe inner border is decorated with a swastika pattern in red formed 
by a white fret. The border is flanked with blue, white, and red. CTThe outer 
border is identical with the inner border, and a red marginal stripe surrounds 
the rug. CLThere is a short web and fringe at each end. A new border has been 
added at one end, and originally the rug may have been twice its present size. 


190 


OF ORIENTAL RUGS 



. " U: ~" . ' ' :'V ' ' , 71 


.V/ipSzzzi 


‘ - Zl’i. . ■ 


Samarkand Rug of the Eighteenth Century 


No. 105 



























BALLARD COLLECTION 







nwwyjifc 






Samarkand Rug of the Eighteenth Century 


No. 106 












































































































OF ORIENTAL RUGS 


It is interesting to note here the two universal types of knots used in making 
Oriental rugs the Sehna and the Ghiordes. The new border has been made of 
Ghiordes knots, whereas the original rug was made of Sehna knots, and the 
difference is notable. The Ghiordes knot has a flat, even appearance, with each 
knot well defined, whereas the Sehna knot is less clearly defined and gives a 
vibrating texture to the surface of the rug. At the four corners a motif has been 
introduced so that the even spacing of the design may be maintained through¬ 
out the border. This is a good example of a special corner motif designed for 

this purpose. Ballard Collection, No. 104 . 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


SAMARKAND RUG OF THE EIGHTEENTH CENTURY. 

[CENTRAL ASIA] No. 106 

Sehna knot, 42-48 to the sq. in.: 6 vert.; J-8 hor. [ II ft. I in. by 6 ft. 5 in.] 

On the rich blue field of this rug are placed horizontal rows of small detached 
octagonal forms in two tones of red, with yellow and brown centres. GThe 
border surrounding the field is decorated with oblique lines in various colors 
converging toward the centre and capped with a trefoil form simulating a 
“wave and rock” pattern of Chinese origin. The color scheme is three tones of 
red, yellow, two tones of blue, and brown. This border is flanked by a red line. 
CAn adjacent border is also decorated with a motif of Chinese origin, which 
may be an elaborated conventionalized form of the Chinese baton, or possibly 
a modified form of the Chinese “wave and rock” pattern. This motif makes up 
a repeat pattern in two color schemes, one heavily outlined in blue, red, and 
brown, and the other lightly outlined in rose, red, and yellow. The same color 
scheme is repeated as that of the inner border. The guard lines are red, blue, 
and brown. Surrounding these borders is a narrow stripe with a highly con¬ 
ventionalized running vine pattern in brown with blue and yellow flowers and 
yellow leaves, on a light red ground approaching orange. CThe outer border 
has a red ground on which is the Chinese fret in blue. It is flanked on one side 
with blue and brown lines and on the other by a narrow brown stripe with light 
red spots. C Around the outer edge of the rug is a wide red line. At each end 
is a white fringe of warp threads. Ballard Collection, No. 105. 

Exhibited: Carnegie Institute, Pittsburgh, 1923; The John Herron Art Institute, Indi¬ 
anapolis, 1924. 


193 




































































































































1 







































































































? • 














BIBLIOGRAPHY 

A list, as complete as references in hand permit, without selection, has been compiled of 
books, periodicals, and pamphlets pertaining to Oriental rugs, arranged alphabetically by 
author, when known, and otherwise by publisher. 

American Art Association. Illustrated catalogue of rare and beautiful rugs and car- 
pets from Persia, Asia Minor, the Caucasus, and China. New York, 1919. 

American Magazine of Art. The Ballard collection of Oriental 'rugs. [v. xiv, p 650 
Dec. 1923] J 1 

Anderson Galleries. Catalogue of rare Persian antiquities. New York, 1906. 

Anderson Galleries, igo rugs from Chinese Turkestan and from China proper. New 
York, 1920. 

Andrews, k. H. One hundred carpet designs from various parts of India. London, 1905. 
Architectural Record. Old Chinese rugs. [Mar. 1909] 

G Arts and Decoration. Fine Oriental rugs and their designs, [v. xi, p. 295. Oct. 1919] 

Arts and Decoration. Old masters from Persian collections; some Oriental rugs dis¬ 
played in Philadelphia, [v. xviii, p. 80. Nov. 1922] 

Art World. Oriental rugs for household purposes, [v. x, p. 166. Jan. 1919] 

Atkins, M. W. Eastern rug-maker. [Art world, v. i, p. 450. Mar. 1917] 

Ballard, J. F. Antique Ghiordes rugs. [International Studio, v. liii, p. 86. Oct. 1914] 

. Barsumian Brothers. Oriental rug and carpet guide. 

zYBeamish, M. W. A. B. C. of Oriental rug lore. [Country Life. v. xxi, p. 29. Mar. 5, 
1912] 

Benjamin, S. G. W. Oriental rugs. [Cosmopolitan. Feb. 1893] 

Benjamin, S. G. W. Persia and the Persians. Boston, 1887. 

Beraty, Phillipe. Chefs D’oeuvre of the industrial arts. New York. 

Berlin. Kbnigliche Museen. Kunstgewerbe Museen, Orientalische tcppiche. Berlin, 
1891. 

Birdwood, Sir George. Antiquity of Oriental carpets. [London Royal Society of Arts 
Journal, v. lvi, p. 1041; 1064. 1908] 

Birdwood, Sir George. Industrial arts of India. London. 

Birdwood, Sir George. Termless antiquity of integral identity of the Oriental manufac¬ 
ture of sumptuary carpets. Vienna, 1892. 

Blacker, J. F. Chats on Oriental China. 

Bode, Wilhelm von. Altpersische kniipf tcppiche. Berlin, 1904. 

JBode, Wilhelm von. Antique rugs from the Near East. New York, 1922. 

Bode, Wilhelm von. Decorative animal figures in old Oriental carpets. Vienna, 1892. 
Bode, Wilhelm von. Ein altpersische teppich nn besitz der koniglichen museen zu Ber¬ 
lin. [Koniglich Preussiche kunstammlungen Jahrbuch. v. xiii, p. 26; 108. 1892] 


T 95 


BIBLIOGRAPHY 


Bode, Wilhelm von. Kniipfteppiche. 

Bode, Wilhelm von. V orderasiatische kniipfteppiche aus alt ever Zcit. Leipzig, 1901. 
Bogoloubov, A. A. Tapis de I’Asie ccntrale. St. Petersburg, 1908. 

Boston Museum of Fine Arts. Oriental rugs. [Bulletin, v. xi, no. 61] 

Bouvre, Pauline. The story of the rug. [New England Magazine, v. xxxiv, p. 68. 
Mar. 1906] 

Breck, Joseph, and Morris, Frances. The James F. Ballard collection of Oriental 
rugs. New York, 1923. 

Brussels, Musees Royaux des arts decoratifs. Catalogue d’etoffes anciennes et 
moderncs, dcscrites par Madame Isabelle Errera. Brussels, 1907. 

Buller, W. Oriental carpets. [Art Journal, v. xxxiv, p. 141] 

Button, H. V. Decorative use of Oriental rugs. [House Beautiful, v. xlviii, p. 265. 
Oct. 1920] 

Chicago Art Institute. Descriptive catalogue of an exhibition of Oriental rugs from 
the collection of James F. Ballard, by J. Arthur MacLcan and Dorothy Blair. 1922. 
Churchill, Sidney T. A. Carpet industry in Persia. Vienna, 1892. 

Claflin, H. B., Co. Rugs and carpets from the Orient. New York, 1907. 

Clark, H. Bokhara , Turkoman, and Afghan rugs. New York, 1923. 

Clarke, C. P. Oriental carpets. Vienna, 1892. 

Clarklin, Franklin. Quest of the magic carpet. [Everybody's, v. xvm, p. 222. Feb. 
1908] 

Cleveland Museum of Art. Oriental rug exhibition. [Sup. to the bulletin. Jan. 1920] 
Clifford, Chandler Robbins. Rugs of the Orient. New York, 1911. 

Clifford, C. R., & Lawton, L. B. Rug primer. New York, 1904. 

Cole, Allen S. Egyptian tapestry. [Royal Society of Arts Journal. Sept. 6. 1889] 
Cole, Allen S. Textile ornamentation. London, 1910. 

Coxon, Herbert. Oriental carpets. London, 1884. 

Conway, Sir Martin. A Persian garden carpet. [Burlington Magazine, v. xxm, p. 95. 
May, 1913] 

Craftsman. Oriental rugs, the romance of their making, [v. xxv, p. 616] 

Crisp, Ada. Illusions concerning Oriental rugs. [Good Housekeeping. Jan. 1907] 

Curtis, Jessie K. Oriental rugs, their design and symbolism. [Craftsman, v. vi, p. 271. 
June 1904] 

Cutler, Martha. Rugs, what to buy and how. [Harper's Bazaar. Oct. 1906] 

Cutler, Martha. JToguc of the Chinese rug. [House Beautiful, v. xxxv, p. 86. Feb. 
1914] 

Dale, H. How to know Oriental rugs. [Good Housekeeping, v. lxxvi, p. 41. Mar. 
1923] 


196 


BIBLIOGRAPHY 


Detroit Museum of Art. Group of Oriental rugs. [Bulletin No. 13, p. 61] 

Detroit Institute of Art. Loan exhibition of antique Oriental rugs. Detroit, 1921. 

Dilley, Arthur U. Chinese rug values and prices. [House Beautiful, v. xxvi, p. 101. 
Oct. 1909] 

Dilley, Arthur U. Essentials of Oriental rugs [Country Life. v. xxxiii, p. 26. Nov. 
1917] 

Dilley, Arthur U. How to select Oriental rugs. [House Beautiful, v. xxvi, p. 77. 
Sept. 1909] 

Dilley, Arthur U. Identifying rugs by design. [House Beautiful, v. xxv, p. 132. 
May 1909] 

Dilley, Arthur U. Oriental rugs. Boston, 1909. 

Dilley, Arthur U. Oriental rugs as distinguished by their weave. [House Beautiful, 
v. xxv, p. 110. Apr. 1909] 

Dumonthier, E. Rccueil de dcssins de tapis et de tapisscrics d'ameublcment du mobilier 
de la Couronne. Paris, 1912. 

Dunn, Eliza. Rugs in their native land. 

Ellwanger, G. H. Craft of the weaver. [Book Buyer, Jan. 1901] 

Ellwanger, G. H. Oriental rugs. [In his Story of my house] New Y6rk, 1891. 
Ellwanger, William D. The Oriental rug. New York, 1906. 

Fleming, Mrs. D. S. Oriental rugs; a note on some historical and practical values. 
[Arts and Decoration, v. n, p. 110. Jan. 1912] 

Foelkersom, Baron A. Ancient carpets of central Asia. [Starye Ghody, Oct.-Dec. 
1914, pp. 57-113] 

Frehse, Ernst. Was muss man z’on orient-teppichen wissenf Berlin, 1896. 

Fritz, Georg. Der alt orient alische teppiche und seine reproduction. Vienna, 1893. 
Frohlich, W. Orientalische teppiche. Berlin, 1896. 

Gardiner, F. D. The Gardiner collection of antique Oriental rugs. Philadelphia, 1911. 
Glazier, R. A manual of historic ornament. New York. 

Godey’s Magazine. The carpet and its history, [v. liv, p. 231; 1837] 

Good Works. Persian carpets, [v. xlv, p. 147. 1904] 

Gould. C. Glen. Monograph on Chinese rugs. New Y ork, 1921. 

Griffitt, I. R. G. Turkey: Carpets and their manufacture. London, 1884. 

Griggs, William. Asian carpets of the i6th and 17th century. 

Grote-Hasenbalg, Werner. Der orientteppich, seine geschichte und seine kultur. Ber¬ 
lin, 1922. 

Grote-Halsenbalg. Masterpieces of Oriental rugs. 

Guiffrey, J. comp. La collection Kclckian: etoffes et tapis, d Orient et de J enise. 
Gurdji, V. Oriental rug weaving. New York, 1901. 


197 


B I BLIOGRAPHY 


Hackmack, Adolf. Der Chinesische teppich. Hamburg, 1921. 

Harper’s Weekly. Chinese rug makers, [v. lii, p. 27. Mar. 14, 1908] 

Harper's Weekly. Oriental rugs. [v. lvi, p. 23. Dec. 14, 1912] 

Harris, Henry T. Carpet weaving industry in southern India. Madras, 1908. 

Hawley, W. A. Oriental rugs] antique and modern. New York, 1913. 

Hawley, W. A. Oriental rugs as objects of art. [International Studio, v. lxiii, p. 19, 
Sup. Nov. 1917] 

Hawley, W. A. Prayer rugs of the Orient. [Country Life. v. xxiv, p. 45, Oct. 1913] 
Hawley, W. A. Three important groups of Oriental household rugs. [International 
Studio, v. lii, p. 53, Sup. Apr. 9, 1914] 

Hawley, W. A. Value of historic association in the enjoyment of Oriental rugs. [Inter¬ 
national Studio, v. l, p. 48, Sup. Sept. 1913] 

Hendley, Thomas Holbein. Asian carpets; i6th and i/th century designs from the 
Jaipur palaces. London, 1905. 

Herringham, C. J. Oriental rugs. [Burlington Magazine, v. xiv, pp. 28 ; 84; 147; 218 ; 
292. v. xv, p. 98. Oct. 1908-Feb. 1909] 

Holt, Rosa Belle. Rugs, Oriental and Occidental, antique and modern. 1908. 

Hopf, Carl. Die altpersichen teppiche. Ein studie iiber schonheitswerke. 1913. 

Howe, Samuel. Rugs; their character and functions. [Country Life. Jan. 1906] 
Humphries, Sydney. Oriental carpets, runners and rugs and some Jacquard reproduc¬ 
tions. London, 1910. 

Hunter, George Leland. Animals in Oriental rugs. [House Beautiful, v. xxn, p. 15. 
Sept. 1907] 

Hunter, George Leland. Decorative textiles. Philadelphia, 1918. 

Hunter, George Leland. Oriental rugs. [Good Furniture, v. vi, pp. 1 ; 75; 195. lan.- 
Apr. 1916] 

Hunter, George Leland. Oriental rugs and hozv to select them. [American Homes, 
v. vm, p. 432. Dec. 1911] 

Hunter, George Leland. Rug Primer. New York, 1907. 

Hunter. George Leland. Things worth knowing about Oriental rugs. [Country Life, 
v. x, p. 70. May 1906] 


Hunter, George Leland. 
506, Sup. Apr. 1, 1911] 

Hunter, George Leland. 
Hunter, George Leland. 
v. x, p. 84. May 1906] 
Hunter, George Leland. 


Tips for buyers of Oriental rugs. [Country Life, v. xix, p. 

The truth about doctored rugs. [Country Life, v. x, p. 333] 
Use of Oriental rugs in the country home. [Country Life, 

Why purchase Oriental rugs? [Country Life. v. xix, p. Ill] 


Jaekel, Otto. Zur urgeschichte der orientalischen teppiche. [Orientalisches archiv. n, 
p. 167. 1911-12] 


198 


BIBLIOGRAPHY 


Jones, Qi ill. Are there rugs in rugland? [Good Furniture, v. xm, p. 55] 

Journal of Indian Art and Industry. Indian carpets and rugs. [no. 92, Oct. 1905; 
no. 93, Jan. 1906] 

Ivelekian, A. H. A lost art. 

Kendrick, A. ,F. The Girdlers carpet. [Art Workers’ Ouarterly. v. in, no. 11. July 
1904] 

Kendrick & Tattersall. Hand-woven carpets, Oriental and European. London, 1922. 

Kent-Schmavin Galleries. Catalogue of the ancient art of Asia and Europe. [May 
1915] 

Kirby, Thomas E. Illustrated catalogue of the art and literary property collected by the 
late Henry G. Marquand. New York, 1903. 

Krygowski, T. Polcnteppiche. [Orientalisches archiv. n, p. 70; 106] 

Kuderna, Joseph. Turkmenenteppiche. [Orientalisches archiv. it, p. 11. 1911-12] 
Kunst und Kunst Handwerk. Die austellung alter orientalischen teppiche ein. 

Langton, Mary Beach. How to know Oriental rugs. New York, 1911. 

Larkin, Thomas Joseph. A collection of antique Chinese rugs. London, 1906. 
Latimer, C. Carpet making in the Punjab. 

Lawton, L. B. Advance lesson in Oriental rugs. [Flouse Beautiful, v. xxxi, p. 45. 
Jan. 1912] 

Leborgne, Ferdinand. Report on carpets at the Paris exhibition of /poo. Paris, 1901. 
Lessing, Julius. Alt-Orientalische teppichmuster, nach bildcrn und originalen des 
XV-XVI jahrhunderts. Herausgegeben, mit unterstiltzung des Konig. Berlin, 1877. 
Lessing, Julius. Modcles de tapis orientaux d'apres des documents authentiques et les 
principaux tableaux, due XV e ct XVI e Siecles. Paris, 1879. 

Lessing, Julius. Ancient Oriental carpets. London, 1879. 

Lewis, George Griffin. Mystery of the Oriental rug. Philadelphia, 1914. 

Lewis, George Griffin. Practical book of Oriental rugs. Philadelphia, 1920. 

London. Victoria and Albert Museum. Guide to the collection of carpets. 1915. 
London. Victoria and Albert Museum. Guides. Loan exhibition of tapestries, car¬ 
pets and silk fabides. 1912-13. 

London. Victoria and Albert Museum. Notes on carpet knotting and weaving, 1920. 
Lord, J. P. Why buy Oriental rugs? [Suburban Life. v. xm, p. 238] 

Lotus. Shiraz prayer rug. [v. v, p. 383] 

MacLean, J. Arthur, and Blair, Dorothy. Ballard collection of Oriental rugs. Indi¬ 
anapolis, 1924. 

Marquis, W. G. Oriental rugs. [Brush and Pencil, v. vm. Sept. 1908] 

Marshall, J. C. Oriental and Occidental rugs. [Country Life. v. xxvn, p. 22. Mar. 
1915] 


199 


BIBLIOGRAPHY 


Martin, F. R. Classification of Oriental rugs. [Burlington Magazine, v. viii, pp. 35; 
186;332] 

Martin, F. R. History of Oriental carpets before 1800. Vienna, 1908. 

Martin, F. R. A Shiraz carpet of the fifteenth century. [Burlington Magazine, v. xvi, 
p. 129] 

May, C. J. D. Ghiordes prayer rugs. [Burlington Magazine, v. xxxix, p. 54] 

Mentor. Chinese rugs. [Mar. 1916. no. 102] 

Meyer-Riefstahl, R. Oriental carpets in American collections. [Art in America, v. iv, 
p. 147. Apr. 1916] 

Michael, W. FI. Rug making in India. [Daily consular and trade reports, July 23, 
1908] 

Migeon, Gaston. Exposition des arts musulmans au Musce des arts decoratifs. 1903. 
Migeon, Gaston. La collection Kelekian: etofifes et tapis d'orient et de Venise. 1908. 
Moore, F. Chinese rugs. [Country Life. v. xxx, p. 38. Nov. 1917] 

Moore, F. Reviving an old Chinese art. [Asia. v. xvn, p. 30. Mar. 1917] 

Morton, W. A. Know your Oriental rugs. [Arts and Decoration, v. xx, p. 40. Mar. 
1924] 

Mukerji, N. G. Carpet weaving in Bengal. Calcutta, 1907. 

Mumford, John Kimberly. Chinese rugs. [Mentor, v. iv, no. 2] 

Mumford, John Kimberly. Collection of Asiatic floor coverings. New York, 1906. 
Mumford, John Kimberly. Great mosque rug of Ardcbil. New York. 

Mumford, John Kimberly. Oriental rug problem. [Flarper’s Bazaar. Nov. 19, 1889] 
Mumford, John Kimberly. Oriental rugs. New York, 1915. 

Mumford, John Kimberly. Passing of the antique rug. [Century, v. lxxix, p. 340] 
Mumford, John Kimberly. Oriental rugs. [Nation, v. lxxii, p. 323. Apr. 18. 1901] 
Mumford, John P^imberly. Rugs and rug making. [Mentor, v. ii, no. 19] 

Mumford, J. K., & Moore. Old Chinese rugs. New York, 1916. 

Nahigian Brothers. Oriental rugs in the home. Chicago, 1913. 

Nation. Disappearing eastern rug. [v. lxxxiii, p. 257. Sept. 27, 1906] 

Neugebauer, Rudolf, & Orendi, Julius. Hanbuch der Orientalischen teppichkunde. 
Mit einer Einfuhrung von Richard Graul. Leipzig, 1909. 

New York. Metropolitan Museum of Art. Catalogue of a loan exhibition of early 
Oriental rugs. Compiled by W. R. Valentiner. 1910. 

New York. Metropolitan Museum of Art. Loan exhibition of Oriental rugs from 
the collection of James F. Ballard of St. Louis, Mo. Oct. 8-Dec. 31, 1921. 

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BIBLIOGRAPHY 


Pennsylvania Museum and School of Industrial Art. Special loan collection of 
carpets and other textiles from Asia Minor. 1919. 

Pickett, B. Selling points of Chinese rugs. [Good Furniture, v. xxi, p. 17. July 1923] 

Pittsburgh. Carnegie Institute. Exhibition of Oriental rugs lent by James F. Bab 
lard. Nov. 17-Jan. 31, 1923-24. 

Pope, Arthur U. Fine art of weaving; exhibition of rugs and textiles from Asia Minor 
at the Pennsylvania Museum. [Nation, v. cix, p. 51. July 12, 1919] 

Pope, Arthur U. Oriental rugs. [International Studio, v. lxxvi, pp. 64; 249; 322; 
403; 535 ; v. lxxvii, pp. 70; 162. Nov. 1922-May 1923] 

Pope, Arthur U. II hen is an Oriental rug a work of artf [Arts and Decoration, 
v. xYn, p. 406. Oct. 1922] 

Presbrey, Frank. 7 o the Orient in search of rugs. London, 1896. 

Pushman, G. T. Art panels from the hand looms of the Orient. Chicago, 1911. 

Reidpath, R. J. Something about Oriental rugs not generally known. 

Revell and Company. Rugs and carpets from the Orient. Chicago. 

Riegl, Alois. Altere orientalische teppiche aus dem besitze des Kaiserhauses. [Vienna. 
Sammlungen des Kaiserhauses—Jahrbuch xm, p. 267. 1892] 

Riegl, Alois. Alt orientalische teppiche. Leipzig, 1891. 

Riley, P. M. Pure of the Persian rug. [House Beautiful, v. xxxii, p. 93. Aug. 1912] 
Ripley, Mary Churchill. Antique Chinese rugs. New York, 1906. 

Ripley, Mary Churchill. Caliphate rugs. [American Magazine of Art. v. ix, p. 68] 
Ripley, Mary Churchill. Oriental rug book. New York, 1904. 

Robie, Virginia. Oriental rugs [Art World, v. hi, p. 14. Nov. 1917] 

Robinson, Vincent. Eastern art carpets. [Society of Arts Journal. Mar. 1906] 
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Griggs after water-colour drawings by E. Julia Robinson. London, 1882. 

Ropers, Heinrich. Auskunftbuch iiber morgenlandischc teppiche. Hamburg, 1913. 

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J 

St. Louis Museum Exhibition of Oriental Rugs. [Bulletin, v. ii. No. 4] 
Samuelian, H. K. Oriental rugs; how and where made. [House Beautiful, v. xvm, 
p. 17. June 1905; v. xix, p. 15. Dec. 1905] 

San Francisco Museum of Art. Catalogue Mrs. Phoebe Hearst loan collection; ed. by 
J. N. Laurvik. 1917. 

Sarre, Friedrich, & Martin, F. R. Mittelaltcrliche knupfteppiche kleinasiatischer und 
spanischer herkunft. [Vienna. KK. Oesterr Museim fur kunst und Industrie, p. 503. 
1907. 

Sarre, Friedrich, & Martin, F. R. Die ausstellungvon meisterwerken muhammedam 
ischer kunst in Miinchen igio. Miinchen, 1912. 


201 


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Saturday Review. Persian carpets, [v. liii, p. 808] 

Saturday Review. Eastern carpets, [v. liv, p. 289] 

Scientific American. Carpet industry of Persia, [v. xciv, p. 11. Jan. 6, 1906] 
Scientific American Supplement. Artificial versus natural dyes. [Jan. 27, 1906] 
Scientific American Supplement. Rug industries of the Caucasus and the Transcas¬ 
pian countries, [v. lv, p. 22836. Apr. 25, 1903] 

Simakoff, N. L’Art de PAsie centrale: recucil de Part decoratif de PAsie centrale. St. 
Petersbourg, 1883. 

Stebbing, Edward. The holy carpet of the mosque at Ardchil. London, 1893. 
Sterling, Ada. Oriental rugs. [Harper's Bazaar, v. xxxvn, p. 1085. Nov. 1903] 
Stoeckel, J. M. Modern Turkey carpets. Vienna, 1892. 

Stoll, Christian. Anciens tapis etoffes ct broideries documents de Part oriental, 1907. 
Strygowski, J. Oriental carpets. [Burlington Magazine, v. xiv, p. 25. Oct. 1908] 
Sturgess, Dinah. Carpets. [Nation, v. n, p. 363] 

Sturgess, Dinah. Fine rugs. [Overland Monthly. July 1900] 

Sykes, Ella C. Through Persia in a side saddle. Philadelphia. 

Tiffany Studios. The Tiffany collection of notable antique Oriental rugs. 1906. 

Towle, M. K. Concerning Oriental rugs. [New England Magazine, v. xxx, p. 338. 
May 1904] 

U. S. Commerce. Report on carpet manufacture in foreign countries. [Special consular 
report, v. i, p. 307] 

A an de Put, Albert. Some fifteenth century Spanish carpets. [Burlington Magazine, 
v. xix, p. 344; v. xx, p. 124] 

\ erbeck, Louis A. How to tell an Oriental rug from a domestic. [Country Life, v. xn, 
p. 710. Oct. 1907] 

Waring & Gallo w, Ltd. The carpet book. London, 1914. 

Winters, Lawrence. Rugs and carpets from the Orient. New York, 1902. 

Wishard, J. J. Twenty years in Persia. New York. 

W olfe, A. T. Khilim rugs and their qualities. [House and Garden, v. xliv, p 70 
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Wolfe, A. T. Rugs of Ghiordes and Kulah. [House and Garden, v. xlv p 76 Feb 
1924] 1 

Yerkes, Charles T. The Yerkes collection of Oriental carpets. London, 1910. 


202 


INDEX 


[References Are to Pages] 


Abacus, 37, 161 

Afghan rug, 190 

Animal form, ix, 37, 87, 103, 131, 187 

Arabesque, 86, 90, 92, 97, 122, 124, 129, 133, 136, 
138, 142, 144, 147, 148, 151, 167, 170, 
175, 182 

Arrowhead form, 37, 44, 50, 78, 100, 102, 105, 107, 
109, 110, 112, 114, 117, 119, 162 

Asia Minor 

Ghiordes rugs, 23-53 
Koula rugs, 55-83 
Bergama rugs, 83-97 
Ladilc rugs, 97-120 
Oushak rugs, 120-147 
Miscellaneous rugs, 147-165 

Bakshi rug, 8 

Baku rug, 167 

Ballard Collection Numbers 


Ballard 

Catalogue 

Ballard 

Catalogue 

No. 

No. 

No. 

No. 

1 

10 

28 

25 

2 

11 

29 

26 

3 

99 

30 

27 

4 

1 

31 

28 

5 

2 

32 

29 

6 

12 

33 

30 

7 

13 

34 

31 

8 

3 

35 

32 

9 

4 

36 

33 

10 

5 

37 

34 

11 

6 

38 

35 

12 

100 

39 

36 

13 

7 

40 

37 

14 

8 

41 

38 

15 

79 

42 

39 

16 

89 

43 

40 

17 

14 

44 

41 

18 

15 

45 

42 

19 

16 

46 

43 

20 

17 

47 

44 

21 

18 

48 

45 

22 

19 

49 

46 

23 

20 

50 

47 

24 

21 

51 

48 

25 

22 

52 

49 

26 

23 

53 

50 

27 

24 

54 

51 


Ballard Collection Numbers —Continued 


Ballard 

Catalogue 

Ballard 

Catalogue 

No. 

No. 

No. 

No. 

55 

80 

81 

77 

56 

52 

82 

78 

57 

53 

83 

101 

58 

54 

84 

81 

59 

55 

85 

82 

60 

56 

86 

90 

61 

57 

87 

91 

62 

58 

88 

83 

63 

59 

89 

84 

64 

60 

90 

92 

65 

61 

91 

85 

66 

62 

92 

86 

67 

63 

93 

87 

68 

64 

94 

88 

69 

65 

95 

102 

70 

66 

96 

103 

71 

67 

97 

9 

72 

68 

98 

104 

73 

69 

99 

93 

74 

70 

100 

94 

75 

71 

101 

95 

76 

72 

102 

96 

77 

73 

103 

97 

78 

74 

104 

105 

79 

75 

105 

106 

80 

76 

106 

98 


Banner form, 69, 98, 109, 131 
Baton, Chinese, 193 
Bectash Mohammedan rug, 127 
Beluchistan mat, 187 
Bergama rugs 

Characteristics of, 83 
Description of, 85, 97 
Betrothal rug, 29 
Bokhara rug, 187 
Borders, x 
Branched pattern, 87 
Brayton Ives Collection, 182 

Carnation, xi 

Cartouche, xi, 3, 13, 85, 92, 94, 97, 152, 165, 167, 
182 

Caucasus, The 
Baku rug, 167 
Characteristics of rugs, 165 


203 


INDEX 


[References Arc to Pages] 


Caucasus, The —Continued 
Kazak rug, 87, 170 
Kuba rug, 170 
Miscellaneous, 167 
Central Asia 

Afghan rug, 190 
Beluchistan mat, 187 
Bokhara rug, 187 
Characteristics of rugs, 180 
Samakand rugs, 190, 193 
Chain pattern, 13, 92, 97, 122, 124, 131, 155 
Characteristics 
Chinese, 180 
Cufic, 133, 138, 147 
China 

Baton, 190 
Characters, 180 
Characteristics of rugs, 172 
Description of rugs, 172, 180 
Fret, 193 
Knot, 124 

Wave and rock pattern, 150, 193 
Cloud band motif, 11, 18, 21, 33, 37, 46, 175 
Cloud forms, 31, 37, 87, 97, 144, 161, 177 
Collections 

Jacoby, 148, 167 
Holstein, 31, 58, 73, 85, 138 
Ellwanger, 100 
Grisby, 33 
Brayton Ives, 182 
Colors, range of, x 
Cufic characters, 133, 138, 147 
Curl pattern, 6, 25, 33, 46, 50, 58, 64, 68, 74, 81, 83 
Carnation, xi 

Damascus rug, 183 
Davanzati Palace, 138 
Diaper pattern, 62, 78, 162 
Dragon motif, 90, 136, 151 
Dragon rug, 151 

Ellwanger Collection, 100 

Ewer, xi, 29, 37, 66, 109, 114, 117, 131, 148 

Feraghan saddle cover, 16 
Field, ix 

Forked pattern, 100, 109 
Fret, Chinese, 177, 193, 180 

Geometric motif, 11, 22, 74, 83, 89, 101, 102, 126, 
129, 131, 133, 142, 144, 167, 170, 
172, 185, 187 


Ghiordes rugs 

Characteristics of, 23 
Description of, 23-53 
Ghiordes knot, 193 
Grisby Collection, 33 
Guard lines, x 
Guard stripes, x 

Hearth rug, 90 
Herat rugs, 11, 98, 110 

Herati motif, x, 25, 43, 44, 50, 102, 114, 117, 119 
Holbein rugs, 131, 133, 142, 147 
Holstein Collection, 31, 58, 85, 138 
Honeycomb pattern, 60, 70 

Hook motif, 29, 64, 98, 102, 105, 107, 109, 110, 112, 
114, 117, 119, 133, 136, 155, 157, 170, 
185, 187 

Horse trapping, 5 

Hyacinth, 25, 37, 41, 43, 46, 52, 64, 66 
Hydra. 33, 37, 46, 58, 175 

Illustrations 

Asia Minor rugs 

Bergama, 84, 86, 88, 89, 91, 93, 95. 96 
Ghiordes, 24, 26, 28, 30, 32, 34, 36, 38, 40, 
42, 45, 47, 49, 51, 54 

Koula, 56, 57, 59, 61, 63, 65, 67, 69, 71, 73, 
75, 77, 79, 80, 82 

Ladik, 99, 101, 103, 104, 106, 108, 111, 113, 
115, 116, 118 

Miscellaneous, 149, 150, 153, 154, 156, 158, 

159, 160, 163, 164 

Oushak, 121, 123, 125, 127, 128, 130, 132, 

134, 135, 137, 139, 140, 141, 143, 

145, 146 
Caucasian rugs 
Baku, 168 
Kazak, 171 
Kula, 161 
Miscellaneous, 166 
Central Asian rugs 
Afghan, 189 
Bokhara, 186 
Beluchistan, 188 
Samarkand, 191, 192 
Chinese rugs, 173, 174, 176, 178, 179 
Damascus rug, 183 
Indo-Persian rugs, 19, 20 
Persian rugs 
Bakshi, 9 
Feraghan, 17 
Herat, 12 


204 


INDEX 


[References Arc to Pages] 


Illustrations, Persian Rugs —Continued 
Jushagan, 14 
Khorossan, 4, 6 
Miscellaneous, 4, 6 
Saraband, 15 
Polonaise, 181 
Incense burner, 155 
India 

Indo-Persian rugs 

Characteristics of, 18 
Description of, 18-23 
Insect form, 87 
Iris, 35 

Jacoby Collection, 148, 167 
Jushagan rug, 13 

Kazak rugs, 87, 170 
Khorassan rug, 5 
Kilim, 157 

Kis Ghiordes rug, 29 
Knot, Chinese, 124 
Knots per square inch, xi, xii 
Konia, 25 
Koula rugs 

Characteristics of, 55 
Description of, 55-83 
Kuba rug, 170 

Ladik rugs 

Characteristics of, 97 
Description of, 98-120 
Motifs in other rugs, 50, 162 
Lamp, see Mosque Lamp 

Lanceolate leaves, x, 3, 11, 13, 18, 25, 27, 33, 37, 
43, 44, 46, 50, 52, 66, 87, 90, 92, 
94, 98, 102, 109. 110, 112, 114, 
119, 124, 131, 165, 182 

Leaf motif, 35, 37, 39, 72, 92. 94, 98. 100, 102, 124, 
131, 136, 142, 152, 182 
Link pattern, 92 

Lily, xi, 35, 41, 50. 53, 60. 64. 68, 87, 94, 98, 102, 
105, 107, 109, 110, 112, 114, 117, 119, 157, 162 
Lotus, xi, 11, 66, 177 

Lozenge, xi, 3, 13, 31, 33, 41, 44, 46, 48, 50, 66, 72, 
76, 85, 87, 90, 94, 98. 107, 117, 124. 126, 
136, 144, 147, 151, 155, 162, 172, 175, 185, 
187, 190 

Makri rug, 85 

Meander pattern, 27, 31, 129, 131, 175 


Medallion, 8, 11, 21, 66, 85, 87, 92, 97, 122, 124, 
126, 129, 133, 136, 138, 142, 144, 147, 
151, 152, 162, 167, 170, 172, 175, 177, 
180, 182, 187, 190 
Mihrab, ix, 100 

Mosque lamp, xi, 27, 29, 33, 37, 39, 41, 44, 46, 48, 
50, 52, 58, 64, 70, 72, 85, 92, 105, 
107, 114, 133, 148, 157 

Motifs, x 
Mudjur rug, 148 

Occidental rugs, influenced by the Orient, ix 
Ogee pattern, 122 
Oushak rugs 

Characteristics of, 120 
Description of, 120-147 
Holbein rugs, 131, 133, 142, 147 

Palmette, 3, 5, 8, 11, 13, 18, 21, 22, 25, 27, 33, 34, 
37, 41, 44, 46, 48, 50, 52, 55, 66, 85, 90, 
92, 94, 97, 98, 122, 124, 129, 131, 133, 136, 
142, 144, 152, 162, 165, 170, 182 

Panel, ix 
Peach, 175 

Pear-shaped form, 8, 16, 70, 167 

Peony, 175, 177, 180 

Persia 

Bakshi rug, 8 
Characteristics of rugs, 3 
Description of rugs, 3-16 
Feraghan saddle cover, 16 
Herat rug, 11 
Jushagan rug, 13 
Khorassan rug, 5 
Saraband rug, 16 
Shiraz rug, 8 

Picot, 16, 29, 37, 43, 44, 72 
Pilaster form, 39, 41, 43, 44, 48, 50 
Pink, xi, 27, 37, 44, 50, 53, 58, 60, 62, 66, 70, 81, 
87, 90 
Plum, 177 
Polonaise, 182 

Pomegranate, x, 27, 31, 35, 37, 39, 41, 44, 46, 48, 
50, 52, 53, 62, 66, 68, 70, 72, 98, 100, 
102, 105, 107, 109, 110, 112, 114, 117, 
119, 161, 177 
Prayer niche, ix 
Prayer rugs 

Bergama, 87, 92-97 
Ghiordes, 25-54 
Koula, 55-62, 66-81 
Ladik, 98-120 


205 


INDEX 


[References Are to Pages] 


Prayer Rugs — Continued 

Miscellaneous Asia Minor, 157, 161 
Oushak, 133 
Shiraz, 8 

Pyramidal form, 109 
Quatrefoil, 11, 18, 165 

Reverse curve motif, 11, 13, 23, 25, 33, 37, 43, 44, 
46, 52, 55, 58, 62, 68, 70, 72, 
74, 76, 81, 98, 102, 105, 129, 
133, 151, 162, 185 

Rhodian rugs, 62, 64 
Rinceau, 50 
Rose, 87 

Rosette, x, 3, 5, 8, 11, 13, 18, 26, 27, 31, 37, 43, 44, 
46, 50, 52, 66, 85, 92, 94, 98, 102, 105, 107, 
109, 110, 112, 114, 117, 119, 122, 124, 126, 
131, 144, 147, 151, 152, 155, 161, 162, 165, 
167, 172 

S chain pattern, 5 

S motif, 44, 107, 109, 110, 112, 114, 117, 119, 190 
Saddle covers, 16, 177 
Samarkand rug, 190 
Saraband rug, 16 

Sawtooth pattern, 25, 39, 41, 44, 48, 52, 53, 58, 60, 
66, 70, 81, 185 

Scorpion motif, 11, 29, 94, 136, 144 

Scroll, 3, 21, 22, 44, 48, 55, 58, 131, 172, 175, 177 

Selina knot, 193 

Serrated leaf, 85, 172 

Shiraz rug, 8 

Silk rug, x, 3 


Souinak weaving, 5 
Spandrel, ix 
Spanish rug, 185 

Star form, 25, 29, 46, 94, 124, 131, 144, 147, 152, 
170, 172, 182, 185, 187 
Stem motif, 136. 155 
Swastika, 177, 180, 190 
Syrian rug, 152 

T motif, 27, 151 

Tamerlane, mark of, 148, 161 

Tile form, xi, 92, 94, 124, 133, 142, 151, 152 

Tomb, 83 

Tooth pattern, 85, 151 

Tree form, 5, 11, 27, 37, 81, 98, 100, 109, 148, 152, 
187, 190 

Tree of Life, 90 

Trefoil, xi, 16, 58, 60. 92, 97, 122, 140, 167, 177, 
185, 187, 190, 193 
Triple arch, 58, 66, 76, 78, 161 
Tripod, 170 
Tulip, x 

Twisted ribbon, 64, 87, 126, 133, 138, 147 
Vadjra motif, 29 

Vase form, xi, 29, 78, 87, 90, 97, 190 
Vine design, 3, 5, 8, 16, 21, 22, 27, 31, 33, 35, 39, 
43, 44, 46, 50, 52, 53, 55, 62, 66, 72, 74, 
81, 83, 85, 87, 98, 100, 102, 109, 110, 
122, 124, 126, 131, 140, 142, 152, 165, 
182, 193 

Wave and rock pattern, 180, 193 


206 


Printed at The Hollenbeck Press, 
Indianapolis, Indiana, vjith the Cover 
Design by Ernest B. Foster and 
Color Plate engraved by Stafford 
Engraving Company, Indianapolis 








































































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